Sitemap - 2024 - Film Daze
‘We Live in Time’ is Uneven and Underbaked
'All We Imagine As Light' is Luminous and Lyrical
In Defense of Elisabeth Sparkle
TIFF ‘24 Review: ‘Will & Harper’
The Magic of Cinematic Death: A Conversation With 'His Three Daughters' Director Azazel Jacobs
August 2024 Double Feature: Questionable Big Sister Figures
Rita Hayworth Column: The Dream of Elsa Bannister in 'The Lady from Shanghai'
July 2024 Double Feature: MADELINE KAHN
Head in the Clouds: Detaching Oneself from Trauma through Spectacle and Media in 'Nope'
Total(ity) Cinema: Asteroid City's Celestial Flirtation
Berlinale Finale: 'La Cocina' & 'Jane Planet' Review
Michael Mohan on Crafting the Haunting Beauty of 'Immaculate'
'La Chimera' Review: A Dreamlike Fable of Grief and its Destruction
Dispatches from the Big Bear: 'I Saw the TV Glow'
‘Immaculate’: A Seraphic Act of Autonomy
The Hopeless Romantics of Aki Kaurismäki's Finland
Dispatches From The Big Bear - Reviews: 'Love Lies Bleeding' & 'Crossing'
A Unified Theory of Rita Hayworth’s Femmes: On Her Performance in 'Gilda'
Reality, obliteration, and (un)certain futures in Miyazaki’s ‘The Boy and the Heron’
The Dionysian Possession of Saltburn’s Grave Scene
Cinema Club #16 (February, 2024)
Reclaiming the Gilded Cage of Girlhood in Sofia Coppola's ‘Priscilla’
Inconvenience and Craft in Kelly Reichardt’s ‘Showing Up’
ICYMI: New Year and the Start of Something New
‘All of Us Strangers’ Review: A Delicately Ambiguous Reflection on Queer Love and Loss