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The story of Penn's upcoming student–run and produced Bifocal Film Festival doesn’t start where you would expect it to—in Philadelphia. Rather, it begins in Kenya.
The frenzied buzz over Bong Joon–ho’s phenomenal Parasite (2019) seems to have just been yesterday, with both a sweeping victory at the Oscars and the box office (the fourth highest grossing foreign film in the United States). Decision to Leave (2022), a crime thriller from the celebrated Korean auteur Park Chan–wook, was recently released in the United States, and the film has been often described by the press in tandem with Parasite. Decision To Leave had its world premiere at Cannes Film Festival with a tremendous success, and it also aims to be a leading contender in the 2023 Oscar race. While it is still extremely hard to replicate Parasite’s success, Decision to Leave is in no way less glamorous. In fact, the audience may be left much more emotionally struck after watching Decision to Leave.
The screen opens up with beautiful shots of a wedding on the Queen Elizabeth II ship. Nat King Cole’s crooning voice on “L-O-V-E” sounds through the screen. Fireworks begin to sizzle to the edges of the frame. The credits roll: “Dennis Quaid … Natasha Richardson …”
“I honestly think Pitch Perfect did wonders for college a cappella,” Victoria Conroy (C ’24), music director of the pop/rock a cappella group Off The Beat, told Street. “I think one of the reasons that it was so successful is that there’s nothing like college a cappella … and there’s just something about it that draws people into it.”
If there’s one thing The White Lotus is sure to make you ponder, it’s the number of murders that can be committed at a luxury resort before anybody steps in to explore.
2022 has been an incredible year for film and television. Audiences were able to revisit classic characters and worlds as we soared the skies with Lieutenant Pete “Maverick” Mitchell and were welcomed back to dragon–filled Westeros.
A few weekends ago, as I was getting ready to go out, I received a horrifying text message from my mother: “I started watching Tell Me Lies.” For any girl who just started college, if your mom sends you this same text, you should scream, panic, and very quickly change your family’s Hulu password.
On Oct. 16, the 60th New York Film Festival (NYFF), presented by Film at Lincoln Center, came to an end after a 17–day cinematic marathon. Featuring a wide range of quirky, subversive, and most importantly, inherently different films from across the world, the festival is a potent testament to the youth of cinematic art and its everlasting appeal, even after the severe effects from the COVID–19 pandemic. Since its creation in 1963, the NYFF is one of the longest–running and most prestigious non–competitive film festivals in the United States.
Warning: this article contains spoilers for 'Do Revenge.'
Who is Lydia Tár?
Four minutes left in the episode—just 240 seconds for a five–year–long tale of deceit, love, and fame to unfold. In the time it took to microwave Kraft mac–and–cheese, the main character would have to decide whether or not to reveal an earth–shattering secret that would change the course of her and her family's life. Season 4 Episode 9 of Hannah Montana had left me in shambles.
Three women walk into a bar: one perjured herself on the stand, one had a pop–star career funded by her husband stealing money from his class–action victims, and one ran a telemarketing fraud scheme that targeted vulnerable groups. What do they have in common? They're all stars of Bravo’s Real Housewives franchise.
For years, I’ve had a weekly tradition of tuning in at 11:30 PM to watch Saturday Night Live as it airs. To me, SNL is the pinnacle of comedy, with hilarious sketches and insanely well–produced pre–tape videos, all created from scratch within a week.
With yet another attempt to be “woke,” America is actually harming one of our most vulnerable demographics of society—adolescent girls.
Amid the sea of seats in a dimly lit, empty theater screening the horror–thriller Barbarian, there was just me and my bucket of buttered popcorn. Watching horror films alone is already sort of a death sentence for someone who gets scared easily. However, what frightened and excited me the most as Barbarian began was not the emptiness of the theater or the prospect of watching a horror movie alone in the dark. My excitement was because I knew absolutely nothing about the insanity I was hurling myself into.
When the first season of Hulu’s The Handmaid’s Tale premiered in the spring of 2017 to critical acclaim, pundits, critics, and journalists interpreted this dystopian tale through a frighteningly current lens. The show, based on Margaret Atwood’s 1985 novel of the same name, follows June Osborne as she is forced into childbearing labor by an America consumed by religious extremism. Premiering a few weeks after President Donald Trump’s inauguration, the show was backdropped by Trump’s presidency. The show’s villains were often compared to corrupt members of Trump’s cabinet, and even the show’s lead actress, Elisabeth Moss, and showrunner Bruce Miller were vocal on their belief that The Handmaid’s Tale was crucial to resisting the current political moment. The show quickly found its cultural niche as a narrative of feminist resistance. Yet even as much as it abhorred the Trump presidency, the show heavily leaned on the Trump administration and particularly its hard line on abortion for inspiration and relevance.
Put your right hand here. Try moving your hips down a little. This position looks odd.
Ten years after his bizarre, stylized neo–noir crime story, Killing Them Softly, Andrew Dominik returns with his newest, almost three–hour long feature film: Blonde. The film, which premiered at the 79th Venice International Film Festival and arrived on Netflix on Sept. 28, has faced heavy criticism over its extreme exploitation and overt simplification of Marilyn Monroe’s tragic life events. The runtime may seem to promise an in–depth, holistic rediscovery of Monroe’s life. Yet, Blonde is not a biopic, and despite the film’s blatant flaws, Dominik’s intention may lie somewhere other than an authentic representation of the blonde bombshell.
Warning: this piece contains spoilers and mentions topics relating to suicide and mental illness.
An arts–and–crafts project may not seem like the scariest premise for a film, but make the medium a blood–thirsty cardboard monster complete with a vicious minotaur and an all–seeing paper vulva, and you get the most wonderfully absurd horror movie to exist. The 2017 picture Dave Made a Maze, directed by Bill Watterson, can't be constricted to a single genre. It combines fantasy, adventure, and horror with comedic and even romantic elements, creating the perfect choice for a Halloween movie night or just when you're craving something different.
Solutions by The State News