philosophy

NYFF 2020 Report #2
NYFF 2020 Report #2

For his second report from the New York Film Festival, Soham Gadre covers six more diverse films.

Hopeful Existentialism: RUSSIAN DOLL and THE GOOD PLACE
Hopeful Existentialism: RUSSIAN DOLL and THE GOOD PLACE

Two series, The Good Place and Russian Doll, are wildly different in tone but reminiscent of each other on a philosophical level.

A Quiet Joy: Resolution Outside Of Happy Endings
A Quiet Joy: Resolution Outside Of Happy Endings

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.

Identifying The Self In Christopher Nolan's MEMENTO
Identifying The Self In Christopher Nolan’s MEMENTO

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.

Embalmed in Celluloid: How Does Film Transform Our Experience of Time?
Embalmed In Celluloid: How Does Film Transform Our Experience Of Time?

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.

Film and Philosophy: The Ambiguous Politics of Dionysian Pessimism in Sausage Party
Film & Philosophy: The Ambiguous Politics Of Dionysian Pessimism In SAUSAGE PARTY

In this article on film and philosphy, Lance Conley looks at the pessimistic philosphy embedded within raunchy animated comedy Sausage Party.

THE ESCORT: A Failed Experiment In Philosophical Filmmaking

With an interesting premise not given the correct treatment, The Escort stands as a cinematic experiment that didn’t quite work out.

Why Did My Mother Like THE SHINING?

Frank H. Wu’s mother, an immigrant from China via Taiwan, used The Shining to teach about right and wrong to her young son.

2001: A SPACE ODYSSEY: Clubbing The Lower Animal
2001: A SPACE ODYSSEY: Clubbing The Lower Animal

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.

Irrational Man
IRRATIONAL MAN: An Exploration Of “The Existential Problem”

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: