By Morgan Roberts Wow. 2020 was a giant dumpster fire, wasn’t it? But here’s the thing: television and films saved us. The arts are always the first thing to go with budget cuts, but without art this year, how many of us would have the respite we so desperately needed during this time? So, thank you to everyone who puts their all into their craft, … Continue reading Morgan’s Top 10 Films of 2020
Somewhere in upstate New York, Hunter (Haley Bennett) stands on a balcony of a cold, glass house which overlooks a gloomy forest. This is a house with sapphire drapes which match her various knee-length skirts. We are immediately inducted into a world of isolation and familiarity–a world of neatness and artificial perfection. A world which, director Carlo Mirabella-Davis suggests, is one no normal human being could instantly acclimatize themselves to; one so laced with control and implemented order.
Hunter has a perpetually fixed smile of obedience and understanding on her face whenever she’s in the presence of her husband, Richie (Austin Stowell); it’s a smile so forcibly fixed, it has the authenticity of a hundred dollar Prada bag. Hunter, for a long stretch of this film is the perfect embodiment of mute feminine submission; it’s as if she herself understands that she is better seen, not heard. She spends her days mostly idle; decorating her soon-to-be-born infant’s bedroom, making dinner, and playing mindless phone games. Continue reading Review: Swallow