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

Reverse Shot’s first-ever year-end games roundup.

I wanted to make a film about this town, but I wanted to make it about what I have learned as a white person, the organizing I did in the 1960s, and the prejudice I have witnessed. There’s a kind of emptiness in the film.

Tatum can market himself as a figurehead for a mainstream, sex-work-adjacent live show in part because he is now, primarily, a movie star in the public consciousness. The character of Mike, on the other hand, is a nobody in a foreign country.

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

Discussing the work of David Cronenberg and the trans metaphors and tactility of his latest film, Crimes of the Future.

Elden Ring is not just a single-player game but a sandbox, a hobby, a lifestyle. It sold 12 million copies in a single month. It is, bar-none, the event game of the year.

When I’m on the set, I’m learning about what I’m constantly drawn to. Part of it is instinct, and part of it is your own obsession, what you’re drawn to. Once I started making films, without losing that theoretical approach completely, that’s when you start gravitating towards things that move you or that attune you.

Resurrections is born from a different era; its text is concerned with the matters of trans people who have lived openly as themselves long enough to have actualized those desires and develop new fears.

Faulkner evokes our uncomfortable relationship to the fascism that sits at the core of many games, a Pavlovian dopamine rush meant to mimic the very actions that imperialist militaries use to oppress, control, and murder in the name of jingoistic glory, and subversively offers an alternative path of interaction.