When it was released in 1999, The Matrix introduced a new type of image: bullet-time. Bruce Isaacs explains why it has become one of the most influential special effects in the history of cinema.
While queer movies don’t necessarily have to be made by queer filmmakers, Boy Erased is a safe film. It is finely made albeit heavy-handed in its melodrama.
While the figures may seem alarming, we should remember that, unlike free-to-air TV, subscription video-on-demand services are not regulated for local content.
In a survey of 600 members of the screen industry, 74% of carers felt their caring responsibilities had a negative impact on their career. Of these, 86% were women.
For decades, academics have been portrayed as brilliant, heroic men on our cinema screens. It’s time to tell the story of more heroic female scholars. Here are some suggestions.
After the first moon landing, the feelings that propelled a unified national mission quickly dissipated. Could Armstrong have played a bigger role in galvanizing the public for future projects?
Bruce Isaacs dissects a scene from Darren Aronofsky’s Requiem for a Dream. In this video, Isaacs looks at the director’s unique use of camera technique to create a deeply subjective and intimate sequence.
Zanny Begg’s film The Beehive, about the 1975 murder of Juanita Nielsen, dismantles the idea that documentaries can impart unequivocal knowledge about the world.
‘Hotel Mumbai,’ which premiered at the Toronto International Film Festival, is an ‘anthem of resistance;’ a film that highlights the things ordinary people can do in extraordinary circumstances.
‘Some of us speak King’s English, some of us speak jive,’ declares the lead character in Lee’s powerful new film. And he wields the English language to devastating effect.
While Sofia Coppola’s Marie Antoinette may not be faithful to historical events, the film is a rhythmic, impressionistic and comical retelling of the young queen’s life by a sophisticated filmmaker.