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In Challengers, Luca Guadagnino, most known for Call Me By Your Name, transforms a simple challenger tennis match, a match close to the lowest level of tournament on a pro tour, into a high–stakes game dripping with adrenaline, sexual tension, and depravity.
In the vast landscape of modern entertainment, where reality TV and bite–sized content dominate our screens, there's a category of television that stands apart, captivating audiences with its depth, storytelling prowess, and cinematic grandeur. This realm is known as prestige television, a term that has become synonymous with high–quality, immersive storytelling that transcends the ordinary.
Francis Ford Coppola has never been one to play it safe. While some filmmakers are content to grind out a career as a dependable studio–hand, always delivering projects on time and under budget even if that means sacrificing a bit of artistic flair, Coppola has never been one of them. For better or worse, Coppola has rarely, if ever, compromised his inner artist’s vision, which explains how he’s gotten to a place where he was forced to self–finance his dream project titled Megalopolis. In advance of the film’s release sometime this year, I thought it would be a good time to look back at Coppola’s decades–spanning career and all of the highs and lows that have shaped it.
“We’ve clearly coordinated this very carefully.” Celeste Ng’s opening comment is met with a round of laughter in the audience. She’s the guest speaker for the March 27 event at the Penn Museum's Widener Hall, which is starting 15 minutes later than advertised. No one’s angry at the late start, but they are impatiently awaiting to hear what wisdom the acclaimed novelist is soon to bestow.
Julia Pratt has never stayed in one place for too long. She spent her childhood years moving around the country and overseas for her mother’s job. At 23 years old, Pratt is still on the road, performing sold–out shows and opening for her favorite artists and bands. Amid the chaos of change and the plight to find home, for Pratt, music has always been a constant.
In my dimly lit dorm room, on Academy Awards night, anticipation crackled through the air like static on an old vinyl record. It was the glitziest, most extravagant spectacle in the realm of cinema. As I settled into my uncomfortable desk chair, surrounded by crumpled takeout bags and half–empty soda cans, I braced myself for the inevitable rollercoaster of emotions that accompanies Hollywood's grandest soirée.
I have watched all two seasons of Pen15, but I don’t even know what platform it is on. My TikTok for–you page is filled with clips of any semi–popular TV show in the last 15 years, divided into short parts, split screened with Subway Surfers or slime DIYs. These videos even prompted me to watch all seven seasons of Malcolm in the Middle, a show I had never even heard of before this year.
There are three little–known categories in the Oscars, and I’ll give you a tiny hint—they all have the word "short" in the title. These narrative, documentary, and animated short film categories are preserving the artistic integrity of the Oscars.
The cinematic era defined by superhero films has come to an anticlimactic close. Marvel movies are flopping and copycat rivals are failing even worse. Computer–generated imagery should have been a godsend for sci–fi. Without the constraint of reality, filmmakers can construct natural worlds not in nature, crowds without extras, and aliens without janky prosthetics. Instead, the useful artistic tool has become a crutch, and audiences are over it. Dune is the answer. In Dune: Part Two, director Denis Villeneuve and his elite team combine techniques of modern and classic filmmaking for a sequel so epic that most current blockbusters look amateurish in comparison. This masterpiece of an adaptation turns the second half of Frank Herbert's Dune into a cinematic event akin to The Lord of the Rings trilogy.
The summer before my first year of high school, I spent hours lying on the blue couch in my living room, eyes glued to my widescreen TV. Despite the protests of my siblings, I refused to watch anything besides the 1990s and early–2000s romantic comedies. I was enraptured by the timelessly trendy fashion in Clueless, Kat Stratford’s magnetic personality in 10 Things I Hate About You, and the wholesome but hilarious performance of “Thriller” in 13 Going on 30. No matter how many times I watch these movies, they never fail to ignite the unbridled joy and happiness I felt when I saw them for the first time.
In the dynamic realm of the entertainment industry, Rachel Sennott emerges as a luminary with her unwavering commitment to creative expression. During an event organized by Penn’s Social Planning and Events Committee (SPEC), Sennott candidly shared her insights into her journey, offering a captivating narrative that traverses the realms of filmmaking, acting, and comedy.
Romance isn't as straightforward your simple meet cute anymore, at least according to May December and Saltburn. These critically acclaimed films leave audiences uncomfortable with their twisted themes and unsavory depictions of lust.
In the United States, there are cultural and political wars being fought every day. Conflicts over foreign policy in the Middle East, reproductive rights, and the fragility of democracy are waged on campuses, on town hall steps, and online. It is a time of mass strife and paranoia. In the wake of such issues, former Secretary of State and presidential candidate Hillary Clinton took to X, formerly known as Twitter, to address the American public:
Fiona Herzog: The Zone of Interest by writer–director Jonathan Glazer deprives all that the audience expects to see in a film about Auschwitz. Instead, it delivers chilling implications on the role of guilt, responsibility, and ignorance when making decisions.
Welcome, demigods and mortals alike, to a world where monsters lurk around every corner, gods walk among us, and the fate of the universe hangs in the balance. Yes, my friends, I'm talking about the enchanting realm of Percy Jackson and the Olympians, where ancient myths collide with the modern world in a whirlwind of adventure, humor, and heart. Grab your celestial bronze sword and your Camp Half–Blood T–shirt, because we're about to embark on a journey that's as thrilling as it is legendary: exploring the cultural phenomenon that is the new Percy Jackson TV show on Disney+!
The origin of film lies in its accessibility for the masses.
Weike: Hayao Miyazaki’s newest entry to his glorious filmography bears every hint of a final swan song. It’s a film with a culmination of everything that fascinates Miyazaki: a young boy’s adventure, a parallel reality, and even planes and his obsession with flying. Simultaneously, it’s also a film with ten years in the making, even carrying a title (in Japanese) that begs the most fundamental question of our existence: how do you live? Fiona, how does it feel like to watch The Boy and The Heron in comparison with the other Miyazaki animations?
Ethereal Bisexual Daughter: "I came out via the Penn Marriage Pact."
It’s late at night, the sky deep purple against the New York City skyline as Hudson University President Nathan Alpert walks home. He’s agitated; criticism has been coming from every direction. The campus is in the midst of mounting tensions between pro–Israel and pro–Palestine advocates. Donors have pulled out funding and student groups are protesting. He’s heading home though, complaining to his wife on the phone over the contents of the day and promised a relaxing night for his troubles. But he pauses mid–sentence, noticing students spray–painting political imagery onto a building. He yells out to them as they disperse and turns to leave. But in that movement, his eyes widen. Out of nowhere, a knife plunges into the president’s body. He falls.
That painful and mirthful moment when you look at someone you believe you know intimately, and their face seems inexplicably unfamiliar. You feel like you’ve never really looked at them long enough to notice your eyes' perception, to account for all their subtle nuances. You see them as though they are a stranger, even if they are the dearest thing in the world to you. You feel like only now do you actually understand what they look like. This is what Nan Goldin captures in each of her photographs, she exposes the subtle nuances, the raw human experience. She forces you to stare at things long enough to really see what they look like.
Solutions by The State News