
Essays on film, politics, and the stories we need
| Platform | Pricing | Only free issues | Publishes | Weekly | |
|---|---|---|---|---|---|
| Issues | 11 | Founded | 4 months ago | Last Issue | 3 days ago |
| Active | |||||

The film begins in darkness. What light there is catches Nina’s pale body as she moves through the choreography like something half-human, half-fairytale, delicate enough to disappear if you look away. Then the stage changes and a figure em...
Here we are, dumped in the middle of an Ethiopian opal mine. Workers dig. The earth opens. We seem to be tunnel visioned on the gem itself until we become it; scattering into a cosmos of colour and light. Lopatin’s score becomes the soundtr...
Obsession (2026)
There is a moment at the end of Obsession that I believe the film does not linger on long enough.
The scene still haunts me more than any ghost or supernatural being ever has before: Nikki is screaming, crying; coming ap...
It was like I was running all my life and didn’t know until someone told me and my body just shut down.
To me, that is what late autism diagnosis feels like. It is the complete opposite of the relief or clarity or the tidy narrative of fin...
We meet Athena as a goddess, appearing to Odysseus as she always has in Homer: divine, present, offering counsel. For most of Christopher Nolan’s film, she is exactly what we expect her to be, the immortal protector of a mortal hero trying...
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The writers behind this newsletter.
Close enough to look. Far enough to think.
A recent film graduate girlie discovering life in NYC and talking about movies!
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