As with so many other events, the 2021 Hong Kong International Film and Television Market (Filmart) moved online and so I was able to attend this year. Along with Noir City International / the 18th Annual San Francisco Film Noir Festival, the New York Asian Film Festival and […]
At the New Yorker, Christine Smallwood looks at Dorothy B. Hughes’ “forgotten Noir,” The Expendable Man (1963). “The creation of difference itself was her subject. Her books were widely praised for their atmospheres of fear and suspense, and criticized when they reached, as the New York Times said […]
At the Public Medievalist, Asa Mittman writes about race, racism and the medieval narrative that inform The Last Jedi. “In the final act of the film, the Resistance (our heroes) have fled the First Order’s mighty army. They hole up in a cave, behind a massive wall, with […]
BJ Colangelo writes about race and the final girl for Graveyard Shift Sisters: “When we think of the final girl in a horror film, we all know the rules. We’ve got ourselves the virgin girl out of her group of friends, a majority of the time she’s brunette […]
“She must do that thing her town has done every year since its founding. The thing could potentially be a tree lighting ceremony, an ice skating rink for people who knew each other in high school, or a pie-making contest hosted by a charming old man who keeps […]
At Hazlitt, Emma Healey writes about a particular scene in the fourth season of Louis CK’s Louie. “By the time Louie was in its fourth season, its protagonist had a lot of audience goodwill to burn, and C.K. seemed to want to do something legitimately complicated with it: […]
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