TRASH to TARKOVSKY . . . essays on film.

May 21, 2022May 23, 2022 Nate Roscoe

Dissecting the Scene: Shopping for Suspense in De Palma’s ‘Body Double’

May 1, 2022May 2, 2022 Nate Roscoe

Hello, I Must Be Lazy: Heartache and Healing in a Poignant Pair of Indies

November 11, 2021May 19, 2022 Nate Roscoe

Second Time Unlucky: The Ripples of Post-Traumatic Stress in ‘Jaws 2’

November 4, 2021May 19, 2022 Nate Roscoe

Noir in the Nineties: How ‘The Opposite of Sex’ Reconceptualised the Femme Fatale

April 21, 2021May 14, 2022 Nate Roscoe

Life Out of a Suitcase: My Enduring Veneration for VHS

March 23, 2021May 19, 2022 Nate Roscoe

The Devil Is in the Detail: The Visual Kinship of ‘Rosemary’s Baby’ and ‘The Perfume of the Lady in Black’

October 11, 2020May 13, 2022 Nate Roscoe

Growing Old Disgracefully: A Deep Dive Into Grande Dame Guignol

January 11, 2020May 19, 2022 Ronaldo Trancoso Jr

“Does That Make Sense or Is This Just in My Mind?” — How ‘The Congress’ Predicted the Future

December 4, 2019May 22, 2022 Nate Roscoe

Ho, Ho, Huh? — The Bewildering Beauty of ‘Blood Beat’

November 8, 2019May 19, 2022 Ronaldo Trancoso Jr

It’s a Sad, Warm World: How ‘Invisible Life’ Inspires You to Connect