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‘The Velvet Underground’
‘The French Dispatch’
‘Halloween Kills’
Recommendations From The Margin: Halloween Edition 2
‘Benedetta’
‘Southland Tales:’ I Got Soul, But I’m Not a Soldier
‘Titane’
Recommendations from the Margin, Volume 6
‘The Card Counter’
Isolation & Modernity in ‘The Green Years’
‘Undine’
Recommendations from the Margin: Pride Edition
Remembering The Hollywood Humorist Preston Sturges
‘The Sparks Brothers’
The Gentle Hand of Isabel Sandoval’s Filmmaking
‘Broadcast Signal Intrusion’
Take a Drink and Remember the Man: ‘Waking Ned Devine’
Maurice Pialat: An Outsider on the Verge of Breaking Through
‘Bringing Out the Dead’ Marked the End of a Scorsese I Loved
Ranking Every ‘Leprechaun’ Movie, Because We Can
Remembering Bobby Sands Through Steve McQueen’s ‘Hunger’
How Genre Influences ‘Judas and the Black Messiah’
Recommendations from the Margin: Black History Month
‘Dreamland’
Recommendations from the Margin, Volume 3
It All Starts with ‘Memories of Murder’
Pushing Color To Its Limit in ‘White Material’
‘Kajillionaire’
Why ‘The New Mutants’’ Queer Representation Is Unique
‘The Craft: Legacy’
Animation and Annihilation: ‘When the Wind Blows’
‘David Byrne’s American Utopia’
‘Rebecca’
Dave Chappelle’s Baadasssss Block Party
Art by Elinor Bonifant Resident Evil and Silent Hill: The Digital Terrors of the 2000s
Recommendations from the Margin: Halloween Edition
Alone, Together in Tsai-Ming Liang’s ‘The Hole’
‘Hubie Halloween’
‘The Trial of the Chicago 7’
‘Possessor’
Recommendations from the Margin, Volume 1
‘Words on Bathroom Walls’
‘Spree’
Why ‘Us’ Is Essential Quarantine Viewing
Of Love & Hate: Going Beyond Reality in ‘A Nos Amours’
Taylor Swift Blurs the Lines in ‘Miss Americana’
‘She Dies Tomorrow’
‘Host’
A Brief Retrospective on Philosophy and Animation