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The recent anniversary of Quentin Tarantino’s Pulp Fiction, which won the Palme d’Or at Cannes twenty years ago last month, was met with a plethora of articles extolling the film and its legacy. This is hardly surprising. Tarantino’s sophomore effort
When The Sopranos ended its six-season run in June 2007, the controversial final sequence—no spoilers here, dear reader—became the stuff of water cooler conversations everywhere. By the time Breaking Bad came to its own conclusion last September, the very nature
The opening shots are like something out of a Western. A seemingly endless sky. A row of lopsided power lines. Saltbush. On the soundtrack, the wind whistles across the plain, while a sombre, sonorous voiceover intones: “My father once told
There are better places to see bullfights than Pamplona. In fact, during the city’s annual fiesta, Pamplona is one of the worst places in Spain to see corridas de toros: the crowds up here in the Basque country demand the
With the hype that accompanied it long behind us, it seems fair to say today that Michel Hazanavicius’ The Artist (2011) was little more than a parlour trick: a blatant retelling of Singin’ in the Rain that convinced moviegoers it
Despite its Academy Award for Best Picture and its substantial commercial success, Steven Spielberg’s Schindler’s List (1993) remains a critically contested film. This essay looks at a number of its stylistic and dramatic strategies, as well as a number of
Oscar Redding and Jonathan Auf Der Heide are adamant. The only social value of their work is as a useful corrective. “As far as mainstream content goes,” Redding says, “it seems that there’s a lot of thought Sexual drive is
Harking back to the junkyard scenes in Jean-Luc Godard’s Sympathy for the Devil, only without the class consciousness, black militants and assault weapons, Verena Paravel and J.P. Sniadeck’s Foreign Parts provides a visually striking insight into class divisions. The myth of America as