“Warmth and empathy are qualities found in all of Ray’s movies, but this genre allows him to display them in their rawest, least guarded form.”
The musical conquests of Goopy and Bagha
Maya Deren: The Magical Woman as Filmmaker
“In At Land, and in Meshes also, domestic interiors signify the world of human society in which the protagonist is contained and trapped, but here there is also an exterior world of landscape and seashore, in which she becomes empowered and where she acts with confidence and certainty.”
Potholes and Potshots: Yvonne Rainer
“From descriptions of individual feminine experience floating free of both social context and narrative hierarchy, to descriptions of individual feminine experience placed in radical juxtaposition against historical events, to explicitly feminist speculations about feminine experience”.
History into Fear: The Ghosts of Edo
“Spirits return because something in the social fabric was left unfinished—an unacknowledged injustice, a normalized cruelty, a promise broken within a rigid order that leaves little room for repair.”
The Flickering Ghost: What Remains When the Projector Goes Dark?
“The greatest films, I have always believed, are empathy machines. They allow us to see the world through eyes that are not our own.” A beautiful love letter to cinema by Amir Zadnemat
She Packs a Punch: Unmasking a Feminist History of Luchadora Moviess
“She underscores their relevance as social, cultural, and economic barometers for a changing Mexico, countering the historical amnesia that surrounded this vibrant cinematic heritage.”
Fruits of Labor: The Beginning of The Cinema of Moral Concern
Agnieszka is battling a country that refuses to accept its past, and thus cannot learn from its repeated mistakes.
The Ghosts of Japanese Folklore
Yūrei, in their varied forms, are potent symbols of the simple and enduring universal human need for right over wrong.
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