Film After Auschwitz: On Václav Marhoul’s “The Painted Bird”
Marta Figlerowicz considers "The Painted Bird," Václav Marhoul's adaptation of Jerzy Kosiński's infamous novel.
The Melodic Variations of “Cold War”
"Cold War" places its bets on the capacity of a small but carefully told story to embody historical tensions and tragedies much broader than itself.
The Moving Pictures of “Loving Vincent”
"Loving Vincent" gives itself over to the poetics of showing its painterly work. It rediscovers not only van Gogh the artist, but also his medium.
How to Do Things with Genres
Marta Figlerowicz on André Jolles’s "Simple Forms."
White Men on a Mission: Martin Scorsese’s Long “Silence”
Marta Figlerowicz on the solipsistic suffering on display in Scorsese's "Silence."
“The Handmaiden”’s Ars Erotica
Marta Figlerowicz considers the contradictions of Park Chan-wook's "The Handmaiden."
“Joy”: A Portrait of the Actress as a Young Capitalist Saint
"Joy" is a film about the pursuit of wealth and opportunity that isn’t quite sure if the story it tells should be told anymore.
Etymologies of Sadness
Park tests whether the abstract contingency of language could express something about the unresolvedness of feelings themselves.