Reverse Shot A different angle on moving images—past, present, and future

The Haunting, Cat People, Possibly in Michigan, The City of the Dead, Dragonwyck, The Eternal Daughter, Ghostwatch.

Both microscopic and galactic-sized things appear roughly the same size within the film’s fixed 4:3 frame; it is up to you to decide what you are seeing.

Even if you are the protagonist of your thoughts, what is the responsible and productive way to intervene with the discourse on a particular object? Are you successfully balancing your subjectivity with research and relevant context? In the end, what kind of culture are you advocating for?

Abrahams frequently shifts aesthetic registers, from stylized vignettes to handheld observation, introspective narration to candid conversation, the heightened past to the quotidian present. Abrahams has explained that she wanted to evoke sense-memory, as if inviting the viewer into her own state of mind.

While watching these world-famous women pantomime Brady fandom, I thought, bizarrely, of people I knew, wrapped up in different fascinations; I wondered about the importance of spectatorship to everyday life.

We’re All Going to the World’s Fair, The Funhouse, Ginger Snaps, Frenzy, Maniac, Baby Blood, Possum

Cronenberg lets questions accumulate like a haze: at what point in a mutation do we remain recognizably human, something else, or somewhere in between? Will we look back and laugh at our quaint fear of change, or is that what makes us us?

It has never been as easy to undercut the “truth” of filmed reality, but verifying truth in image-making was never so straightforward.

The title of Vengeance Is Mine, All Others Pay Cash may be slick and playfully edgy, but in ironic passages, Edwin ruptures that tone.

Its creative interactivity distinguishes TikTok from image-based social networks like Instagram, and also explains its dominance as a short-form video app, a larger trend in China.

Ghost Story of Yotsuya, Lord Shango, Malignant, Dracula, Carnival of Souls, Silent Night Deadly Night 3, When a Stranger Calls

Part II builds on its predecessor in sophisticated ways. Hogg has said that the sequel can stand alone, and that may be true, but its almost noirish visual callbacks instill ghostly memories that, over time, transcend the ectoplasm of one person or film.

Transgression was the key to their sonic palette, driven by the collision of Cale’s sustained minimalism with Reed’s earthy lyricism on pain and desire.

Ulman has described herself as an artist “based in airports”: functional travel hubs with a navigable universality, regardless of their actual location.

"As humans, we always want the fireworks. We want the show. But actually a volcano is always erupting. And, as is also true about cinema, the more you learn about the language of a director, the more you can appreciate the idiosyncrasies or the details."

New logistical work-arounds sought to overcome the difficulties of physically congregating; each decision about tone could trigger dozens of questions. Are the problems we are experiencing self-contained within the pandemic, or perennial?

"A radically new way to watch story and interact with story" conceals the true subversion out there.

Pulse, Host, Brain Damage, Let's Scare Jessica to Death, The Velvet Vampire, Deathdream, The Devil and Daniel Webster

This is a contemporary American hellscape, but if Chaplin and Tati were socially aloof within environments of cold modernity, O’Malley’s outcasts can barely communicate as they navigate a world corroded by mediation.

The subjects Skoog follows the closest end up on the fringes of group gatherings. As that world seems less stable, the implication looms that technology and industry irreparably threaten the land we still very much depend on.