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

In the last two or three years, I have had the feeling that the people who live around me in Germany don't believe in the future. They’ve started to build up caves for themselves, where they want to survive. This feeling, that one’s story is a story of survival, is new for me.

Frailty and malice would be the simplest emotions to prescribe to a figure like Eleanora Duse, but Bruni Tedeschi opts for an unstoppable, pathetic hysteria. She finds wild variations on Duse’s foolishness that are, at turns, surprising, delightful, and haunting. There is a depth to her artifice.

Johnson embodies this ethos from his shoulders to his thighs, but especially his eyes. When someone is on heroin, their eyes glaze over but do not defocus. It is not about the drowsy escape, it is the pleasure of balancing, for a moment, the mundane cruelties of life against an unstoppable contentment.

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.