1970s
Je T’Aime Moi Non Plus is another fitting example of what made Serge Gainsbourg such a unique and, yes, controversial talent.
Horror classics When A Stranger Calls (1979) and When A Stranger Calls Back (1993) are being re-released on BluRay. Alex Lines takes a look.
For all its flaws, Girls Stroke Boy is a portrayal that is more progressive than a lot of current cinematic depictions of trans people.
Finding Steve McQueen is an unfortunately dull heist film, bogged down by unnecessary subplots and a lack of overall energy.
A spiritual forerunner to modern coming-of-age films like Eighth Grade and Lady Bird, Peppermint Soda is a charming glimpse at two teenage girls growing up.
Second Sight’s revival of World on a Wire is vital for not only highlighting one of Fassbinder’s more underrated efforts, but for resurrecting one of the essential texts of science fiction.
We take a retrospective look at Ingmar Bergman’s The Serpent’s Egg, which many view as a misfire from the director, but could be seen more favorably through another light.
In this first edition of She Looks Back, we take a moment to look back at the Hitchc*ck inspired Last Embrace from director John Demme – a film that deserves a second look.
Ken Wiederhorn’s mostly forgotten 1977 film Shock Waves is an apt metaphor about the fear of a fascist planet.
Sweetback’s rage is infectious, especially since the relations between the police and the black community have changed so little since the film’s release.
While Emperor of the North (1973) accurately portrays the unique subculture of the hobo in many ways, it also does itself a disservice by removing friendship between hobos, a central aspect of hobohemia.
In our latest entry of Anarchic Cinema, we discuss Nick Zedd’s 1979 undiluted cinematic punk rock film They Eat Scum.
Matthew Roe introduces Anarchic Cinema, the beginning of a new series focusing on the evolution of art from the obvious to the complex.
Every year, between five to ten movies are bestowed the honor of being nominated by…
In Suspiria, Argento’s use of space, lighting, vivid colors, grandiose set pieces, and Goblin’s score create a masterclass in suspense and subliminal terror.