TRASH to TARKOVSKY . . . essays on film.

June 10, 2022June 13, 2022 Nate Roscoe

Gimme Moore: The Making of a Pitiable Monstress in ‘Maps to the Stars’

June 1, 2022August 12, 2022 Nate Roscoe

The Sharp, Sour Taste of ‘Candy’

May 21, 2022August 12, 2022 Nate Roscoe

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

January 31, 2022August 12, 2022 Nate Roscoe

‘Don’t Look in the Basement!’ — You’ll Find Nothing but Misery Down There

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, 2021June 2, 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, 2020June 2, 2022 Nate Roscoe

Growing Old Disgracefully: A Deep Dive Into Grande Dame Guignol