There’s no arguing with zealotry. No rationalizing with fanaticism. No debating superstitions. The Front Room is about how, in America, some Christian extremists think they know what’s best for everyo...

Alfred Hitchcock’s Rope is a unique experiment in his career. It emerged from a pivotal moment when the director shifted between major studio partnerships and gained newfound creative freedom. M...

From social pariahs to sources of desire, sex workers have been given countless labels. Society and art have characterized them as deviants, criminals, disease-spreaders, and victims; elsewhere, they ...

Some art was not made for human eyes. La chimera doesn’t fit into that category, but the film concerns the antiquities in Italy’s vast array of tombs—statues, sculptures, and pottery crafted to pay ho...

You almost have to admire Twister. It teaches us next to nothing about tornadoes. Apart from a quick reference to the Fujita Scale, which labels them anywhere from F0 to F5 depending on the destructio...

Among the more fascinating details about Saint Laurent, Bertrand Bonello’s oblique film that ruminates on the revolutionary fashion designer, is that Yves Saint Laurent’s former lover and business par...

Wu Ming-han is a “dumb straight guy.” Mao “Mao Mao” Pang-Yu is a recently deceased gay man. Together, they make a perfect pair in Marry My Dead Body, a Taiwanese film that mixes and matches genres to ...

“Listen, white world, as our dead roar. Listen to my zombie voice honoring our dead.” – René Depestre’s poem “Cap’tain Zombi” Zombi Child, Bertrand Bonello’s slyly political genre trap, adopts t...