Dibbern and Larson discuss how writing about film led them back to writing about themselves.
The Lookback Window grapples with rather than elides the problem of authenticity.
Betancourt explores the development of his queer male gaze through candid reflections on the pop-cultural influences that formed his early education in how to want and how to be.
Throughout, the dramatic revelations never eclipse the grace of the story’s emotional core.
The ambivalence with which the film treats its main character’s revelation proves rich with complication and offers a new intervention into a genre we thought we’d fully internalized.
The film is filled with a subtextual nostalgia for a fleeting youth and the urgency of figuring things out before it’s too late.
Throughout, John Krasinski seems to be in his comfort zone when staking tension on the importance of family and legacy.
Koresky’s complicated relationship with age and mortality inflects much of Films of Endearment.
The separate yet sometimes inextricably linked spheres of politics and desire make for doomed bedfellows in Jedrowski’s debut novel.
It settles into a distinct rhythm as time passes and Lisicky’s relationship with his chosen town deepens.
It casts its source as a delusional fantasy through which to enact the effects of possible traumas that go completely unexplored.
There was plenty of merit to the connections being made at Los Cabos between filmmakers and audiences.
André Aciman’s novel is a series of ghost stories interrupted by fleeting flashes of light.
The book is Carmen Machado’s deeply intelligent and fiercely innovative account of her experience of domestic abuse.
The snapshots of the painstaking task of translation are filtered through the delicate framing of its subjects and the worlds they inhabit.
The story has enough pathos to fulfill the expectations of a great tragedy, but the film feels like a commercial for something else entirely.
Here, Mapplethorpe is just another tormented queer destroyed by his tendencies toward vice.
By the end, the lesson we’ve learned is that the stories we tell ourselves about the past have always been revised from a previous draft.
Rami Malek’s charitable act of resuscitation for the benefit of Mercury’s admirers is something that the film as a whole fails to accomplish.
The film is a leaden adaptation of Sarah Waters’s quiet yet distressing novel about an aristocratic family’s downfall.