Review: Rebecca

“Rebecca” could be ripe for a modern interpretation. For the uninitiated, the title takes its name from Rebecca de Winter, the late wife of aristocrat Maxim de Winter (Laurence Olivier in the Hitchcock version). Rebecca dies before the novel opens; yet she’s a strong presence throughout the book. She’s as much a character as Manderley, the manor where Maxim brings his new bride (Joan Fontaine in the Hitchcock film) after a whirlwind romance. The new Mrs. de Winter is gawky where Rebecca was glamorous and refined and feels herself paling by comparison, especially under the withering gaze and comments of the head housekeeper, Mrs. Danvers. Continue reading Review: Rebecca

Pride Month, Restrospective Review: Call Me By Your Name

Back in 2017 during preparation for the Oscars, I went into the first watch of “Call Me by Your Name” and I knew absolutely nothing about it. When the credits were done, I left the theater only because I was forced to get up because the cleaning crew had entered, which shows how badly I wanted to stay with these characters and their story. Continue reading Pride Month, Restrospective Review: Call Me By Your Name

“Wounds” Analysis: Attempting to Find Meaning in Filth

“Wounds” is Babak Anvari’s latest film–he is a British-Iranian filmmaker best known for his directorial debut in 2017 with the brilliant “Under the Shadow”. Here, he takes the same cultural critique approach of that film and uses that framework to critique millennials. “Wounds” is based on Nathan Ballingrud’s novella, “The Visible Filth”–which I haven’t read, but if the conclusions this film draws are similar to those of the source material, then by god, I want it on my kindle NOW. Continue reading “Wounds” Analysis: Attempting to Find Meaning in Filth