What Greta Gerwig Got Right: Rethinking Amy March in Light of May Alcott Nieriker
The real-life model for Louisa May Alcott’s Amy March was a pioneering champion of women artists....
Recovering Broken Barriers: On “Khavah” (1919)
Thomas Doherty studies the lost Jewish-American silent film "Khavah," considering why it was a flop then and an art-house gem now....
Women’s Animation and the Creative Feminist Politics of Social Change
Vanessa Cambier explores the intersections of feminist film study and the animation form....
Early Mourning: On Chantal Akerman’s “My Mother Laughs”
Daniel Fraser looks at the most recent translation of Chantal Akerman’s “My Mother Laughs” as a work about motherhood, illness, and language....
Sin, Glamour, and Photography in Hollywood’s Golden Age: On Two Books by Mark A. Vieira
Chris Yogerst praises two books by Mark A. Vieira that document pre-Code Hollywood history through vivid pictures and astute storytelling....
Anatomy of a Neo-Noir Masterpiece
A richly detailed new study of the best movie ever made about Los Angeles....
Out of the Waiting Room of History: Ritwik Ghatak’s Cinema of Partition
Swagato Chakravorty on the rediscovery of Ritwik Ghatak’s films, and what it says about how Western cultural institutions frame the idea of world cinema....
Real Life Rock Top 10: February 2020
LARB presents the February installment of “Real Life Rock Top 10,” a monthly column by cultural critic Greil Marcus....
The Shell Game: From “Get Out” to “Parasite”
Juxtaposing "Get Out" and "Parasite" raises uneasy questions about how American audiences process racial injury versus economic injury....
Adapting Your Experience: A Conversation with Zia Anger
Holly Connolly interviews director Zia Anger on “My First Film,” a film-theater hybrid performance on the nature of process, failure, and self-disclosure....
On the Power of Sisterhood and the Limits of Nostalgia: An Interview with Brazilian Director Karim Aïnouz
Eileen G’Sell interviews Karim Aïnouz, director of “Invisible Life.”...
Room After Room in “The Report”
Hilary Plum considers "The Report," Mohamedou Ould Slahi’s "Guantánamo Diary," and who gets to depict torture....
