The Road to Tar: Memory, Desire, & the Mouvement Panique in Jodorowsky’s Fando y Lis (1968)

Alex Gregor


A look back at the stark, disorienting effect of Alejandro Jodorowsky’s first full feature film, the seminal Fando y Lis.

Trash-Imagist Outlaw: The Cosmococas of Hélio Oiticica

Paul Cunningham


How can any artist escape the representative nature of an image without simultaneously utilizing images or representations? Paul Cunningham considers the question via a deep look at cocaine, Andy Warhol, and Marilyn Monroe in the work of Brazilian artist Hélio Oiticica.

Mad Max: Fury Road with Sasha Fletcher

Sasha Fletcher


The conclusion of our Mad Max retrospective, with a deep gaze into its latest addition, Fury Road, with Sasha Fletcher.

Mad Max Revisited (3): Beyond Thunderdome

Sasha Fletcher


The conclusion of our look back at the original Mad Max saga: Beyond Thunderdome, with Sasha Fletcher.

Mad Max Revisited (2): Road Warrior

Sasha Fletcher


The second installment in our look back at the original Mad Max trilogy, moving now to Road Warrior, with Sasha Fletcher.

Mad Max Revisited (1): The Original Mad Max

Sasha Fletcher


In the glow of Fury Road, we take a look back at the original Mad Max trilogy, close up to the screen with Sasha Fletcher.

“Where Is The Madness That You Promised Me?”: A Conversation With Caveh Zahedi

Micah Gottlieb


Micah Gottlieb spans from Lars Von Trier to Joseph Cornell in conversation with filmmaker Caveh Zahedi upon the release of Digging My Own Grave, a 6-disc box set of his work.

The Giant Possibilities of the Human Spirit: A Review of Furious 7

Eric Nelson


What can the Fast and Furious movies teach us about death? Eric Nelson reviews.

Inside Ex Machina

Sabra Embury


Ex Machina bends the tech-thriller genre into bizarre love triangles and A.I. Sabra Embury reviews.

Clouzot’s Wound: Lara Mimosa Montes on L’enfer

Lara Mimosa Montes


Lara Mimosa Montes revisits Henri-Georges Clouzot’s 1964 film L’enfer and asks, “What can be gleaned from thirteen (unlucky) hours of exposed footage?”