Whose (Who’s) Shakespeare? On Amelia Rosselli’s “Sleep”
Taylor Yoonji Kang reviews Amelia Rosselli’s “Sleep.”
"As far as I'm concerned, being any gender is a drag." — Patti Smith
Taylor Yoonji Kang reviews Amelia Rosselli’s “Sleep.”
Taylor Yoonji KangFeb 22, 2024
Victoria Wiet looks at “May December” as a melodrama that exceeds the genre’s ideological limits and binaries.
Victoria WietFeb 15, 2024
Violet Spurlock’s “In Lieu of Solutions” is reviewed by charles theonia.
charles theoniaFeb 11, 2024
Brianna Di Monda reviews William Oldroyd’s cinematic adaptation of Ottessa Moshfegh’s novel “Eileen.”
Brianna Di MondaFeb 9, 2024
Katie Berta reviews Gregory Pardlo’s “Spectral Evidence.”
Katie BertaFeb 1, 2024
Jenna N. Hanchey reviews Tlotlo Tsamaase’s “Womb City.”
Jenna N. HancheyJan 23, 2024
Elizabeth L. Silver discusses four important court cases that have defined the landscape of women’s rights in the United States.
Elizabeth L. SilverJan 23, 2024
Isabella Trimboli reviews a new translation of Marguerite Duras’s work on cinema.
Isabella TrimboliJan 21, 2024
Lori Marso looks at “Priscilla” within Sofia Coppola’s white girl oeuvre.
Lori MarsoJan 20, 2024
Adedayo Agarau reviews Sarah Ghazal Ali’s “Theophanies.”
Adedayo AgarauJan 16, 2024
Enzo Escober reviews Beyoncé’s new concert movie, "Renaissance."
Enzo EscoberJan 4, 2024
Edna Bonhomme reviews Nicholas L. Syrett’s “The Trials of Madame Restell: Nineteenth-Century America’s Most Infamous ‘Female Physician’ and the Campaign to Make Abortion a Crime.”
Edna BonhommeJan 3, 2024