If the joy of art is that it can be interpreted in infinite ways over time, then is a project which “remixes” classic movie scenes by forcing them into the cur...
If there’s one sin in criticism that many writers––myself included––fall victim to at one point or another, it’s assessing a film’s narrative by comparing it t...
The tiny city of Dalton, Georgia, has left a large footprint in the daily lives of millions who most wouldn’t have stopped for a second to consider. Well, it’s...
When singled-out within a purely visual medium, sound becomes intrinsically linked to the theme of obsession: a mystery the eyes can’t see that the protagonist...
Every cinematic cabin in the woods suggests a place out of time. If you believe the movies, they’re either a) a dread-inducing home to all manner of spirits an...
It’s clear from the opening moments why the narrative feature debut of Kavich Neang, finally arriving in the US nearly two years after its 2021 Venice premiere...
Grief is by no means a universally relatable subject; we may all encounter it, but the manner in which we process it very rarely translates directly to somebod...
The short stories of Haruki Murakami are becoming an increasing fixture on the big screen––it may have taken considerably more time since their initial publica...
The sophomore feature from director Léa Mysius is an enchanting work of near-unclassifiable fantasy, an evocative tale that links the sense of smell with long-...
The appeal of a Dungeons & Dragons campaign is in creating weird, wonderful characters of your own and throwing them into a wide array of quests: no two ga...
Alistair is a freelance film and culture writer from Northern England, who has written for the BFI, Vice, GQ, and more. You can find him on Twitter @YesItsAlistair, although if you are allergic to bad puns, maybe think twice before smashing that follow button.
