philosophy
For his second report from the New York Film Festival, Soham Gadre covers six more diverse films.
Two series, The Good Place and Russian Doll, are wildly different in tone but reminiscent of each other on a philosophical level.
A deeper look at the final moments of Moonlight and A Portrait of A Lady on Fire lead to a profound philosophy of acceptance applicable to everyday life.
In spite of what the Memento’s legacy and promotional material may tell you, Lenny’s problem does not concern memory so much as it does truth.
Cinema allows us to immortalise people and events, capture change and examine the nature of time. Liam Beazley explores how time is explored in film.
In this article on film and philosphy, Lance Conley looks at the pessimistic philosphy embedded within raunchy animated comedy Sausage Party.
With an interesting premise not given the correct treatment, The Escort stands as a cinematic experiment that didn’t quite work out.
Frank H. Wu’s mother, an immigrant from China via Taiwan, used The Shining to teach about right and wrong to her young son.
Stanley Kubrick’s classic sci-fi epic, 2001: A Space Odyssey, is a fictional transcendence of classic Greek mythos through the ubiquity of the motion picture camera. As the film’s title suggests, this is Greek philosopher Homer’s The Odyssey told on the grandest of scales and sparing no expense that 20th Century cinema had to offer.
Woody Allen’s perennial dialogue of death and futility is upon us, and, as someone who takes comfort in the recurring anguish of Mr. Allen’s films, I couldn’t be happier with his 2015 iteration, Irrational Man. He executes a story equivalent in scope to what has become one of the auteur’s main ambitions these fifty years: