“Home Guards”: A Film About Modern-Day Hungary or an Ode to Neo-Nazis?
“Home Guards” is, whatever its director says, a film for the far right.
“Home Guards” is, whatever its director says, a film for the far right.
A specter is haunting the Levant — the specter of Hobbes’s Leviathan.
All of Westworld’s tricks are about age.
Moviegoing, like roller-skating and rotary telephone use, is in decline.
What does it mean to move among multiple genres as a writer?
Marta Figlerowicz considers the contradictions of Park Chan-wook's "The Handmaiden."
Stephen Marche reflects on the Obama years.
Time and narrative, once again, turn out to have histories.
Peter Trachtenberg reflects on the work of music and the music of work in “Linefork.”
Bonnie Johnson explores LA’s utopian past and argues for a utopian future.
Failure runs through it all, from Cioran’s “On the Heights of Despair” to “The Trouble with Being Born.”
Nick Ashdown looks back on the failed Turkish coup of July 15 and its aftermath.
Woody Haut shadows David Goodis down Central Avenue.
Brooks E. Hefner on "The Black Stockings," William Thomas Smith's 1937 serial aimed at working- and middle-class African-American readers.