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, 2022June 4, 2022 Nate Roscoe

The Sharp, Sour Taste of ‘Candy’

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

January 31, 2022May 31, 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