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They Were Made to Choose Sides: On Eunice Lau’s “A-Town Boyz”
Ellen Song looks at Eunice Lau’s documentary “A-Town Boyz” in the context of contemporary Asian American representation.
Film
"There is only one thing that can kill the Movies, and that is education." — Will Rogers
Become Death: On Christopher Nolan's “Oppenheimer”
Paul Thompson considers Chris Nolan’s “Oppenheimer” and the atomic bomb on-screen.
A Cinematographer’s Lens: On This Year’s Oscar Nominees
Cinematographer Michael M. Pessah surveys this year’s Oscar nominees in the category and considers the state of the art.
Black Artists and the Logic of the Market: On Cord Jefferson’s “American Fiction”
Eskor David Johnson reviews Cord Jefferson’s film “American Fiction.”
No More Hunger and Thirst? On Barbra Streisand’s “My Name Is Barbra”
Dolores McElroy reviews Barbra Streisand’s memoir “My Name Is Barbra.”
The Lord of Auschwitz Asks to See a Priest: On James Bernauer’s “Auschwitz & Absolution”
Jack Miles reviews James Bernauer’s “Auschwitz & Absolution: The Case of the Commandant and the Confessor” in light of the new film “The Zone of Interest.”
Viewing the Ob-scene: On Jonathan Glazer’s “The Zone of Interest”
David Hering reviews Jonathan Glazer’s film “The Zone of Interest.”
A New Hong Kong Cinema That Lives On: On Tiffany Sia’s “On and Off-Screen Imaginaries”
Jenny Wu reviews Tiffany Sia’s “On and Off-Screen Imaginaries.”
Wake Up, Sleepyhead: On David Thomson’s “Remotely”
Peter Campion reviews David Thomson’s “Remotely: Travels in the Binge of TV.”
Apple’s Gimmick: On “Fingernails” and the TV+ Brand
Michael Szalay compares apples and Apples in parsing the streamer’s strategy financially, aesthetically, narratively, and otherwise.
Outgrowing Melodrama: On Todd Haynes’s “May December”
Victoria Wiet looks at “May December” as a melodrama that exceeds the genre’s ideological limits and binaries.
Still Raw: Love in David Cronenberg’s “Crash”
Hattie Lindert argues for David Cronenberg’s “Crash” as the ideal Valentine’s Day movie.
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