Nicole Veneto
Bertrand Mandico’s “She is Conann” left me buzzing, high on a euphoria of aesthetic excess that represents the true legacy of New Queer Cinema.
For all of “Suitable Flesh”’s indulgence in B-movie schlock and gross-out gore, the film’s pulsating sexuality becomes its strongest asset.
“The Boy and the Heron” is a work of true beauty that fits squarely within veteran director Hayao Miyazaki’s gorgeous and emotionally resonant oeuvre
Simply put, there’s nothing (and no one) out there quite like what Neil Breen is putting out into the world, and for that alone, we should be grateful.
“Mami Wata” beautifully cracks open a world Western eyes either blatantly ignore or seldom get to experience on screen.
In her debut feature, music video director Jacqueline Castel supplies a moody and explicitly queer spin on the metaphor of monster as a maligned queer subject.
Billed as a queer woman’s spin on “The Shining,” “Bad Things” is a much more entertaining film in concept than it is in execution.
Without “The Wizard of Oz,” it’s entirely possible that the David Lynch we know and love wouldn’t exist.
As The Flash crashes at the box office and audiences grow tired of multiverse sagas, creative mastermind Hideaki Anno has delivered two badly needed breaths of fresh air to a genre suffocating under the weight of its own cultural stagnancy.
Director Ryan Stevens Harris talks about his stunningly cinematic home-grown labor of love, Moon Garden.
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