+ resources for a deeply formed spiritual life
Parasite, Bong’s latest, is no exception. It is the most fun I’ve had at the movies all year. Bong excels at taking his narratives in unexpected directions and shifting tone rapidly along the way.
A common trope of faith and film writing is that the cinema is a “sacred space.” In Martin Scorsese’s The Irishman, the theater becomes a confessional.
Robert Eggers is back with The Lighthouse, another unsettling time warp into the dark recesses of American folklore.
In this way, the film manages to stay focused on the particularities of Bazan’s story, but it does so by setting this one man’s personal journey against the backdrop of a series of broader shifts.
To watch Joker is to stare the sickness in the face. The film is a disturbing experience. We are not used to spending time with these kinds of characters anywhere, even at the movies.
Downton Abbey bets mightily on your existing affiliation with the characters and world. This allows it to get down to business in that pragmatic way that is typical of the Crawleys and their estate.
There’s a lot of talk about God and guilt in Ad Astra, but the action of the story is more straightforward. A son searches for his thought-dead father in hopes of making peace.
Once Upon A Time in Hollywood is less concerned with “hanging out” than it is with hanging on, though it's not without its, um, complications.
It’s summer. Theaters are air-conditioned. Tony Stark is dead. Popcorn is tasty. There’s a new Spider-Man movie.
Good for Pixar for making a kid’s movie about retirement. It’s a natural end to the saga and a brave storytelling choice, likely to irk many fans expecting a reiteration of the usual theme.
Godzilla: King of the Monsters is at its best when it is approaching ideas of the divine.
Outrageously funny and thrilling, Parasite is best experienced with as little foreknowledge of the narrative and premise as possible.
Young Ahmed boldly and effectively raises complex ethical and political questions without giving simple answers while still offering a sense of genuine hope.
If you could feel happy all the time, what would you be willing to give up? Your integrity? Your freedom? Your own child?
Diop is the first black woman to have a film in competition at Cannes, and her debut feature is the work of a confident, perceptive filmmaker.
Kutter talks to John Chester, filmmaker and farmer, who launched Apricot Lane Farms with his wife Molly, about his just released documentary, The Biggest Little Farm.
The Biggest Little Farm offers a new way of seeing and thus understanding our relationship with the soil beneath our feet. In doing so, it doesn’t merely function like a parable of the kingdom.