Before we can even get on the record, before that most familiar robot warning of “This meeting is being recorded," Frederick Elmes is swapping stories about Al...
An expectation of finality has followed Ken Loach’s The Old Oak since its premiere at the 2023 Cannes Film Festival. “When you’re doing it, you’re doing it, yo...
“One molecule could say yes to another molecule and life was born" –– talking with Deborah Stratman about Last Things (2023)
Deborah Stratman on Robi...
What’s the border between ‘unseen’ and ‘underseen’? As a canister of images and a time capsule of the eyes that saw them get into the can, David Schickele’s Bu...
On the heels of a certain Paper of Record’s basically inscrutable insistence that January is actually a good month, it is perhaps tempting to double-down on de...
What splits the fine line between desire and expectations? Is it a thing you can see? Is it a thing you can film?
Film at Lincoln Center's new retrospective...
With a title that invokes both the specific (cinema of Godard) and the universal (cinema is Godard), Cyril Leuthy’s Godard Cinema finds itself in conversation ...
No working actor better articulates acting an act of authorship than Tilda Swinton. Beyond her work with Lynne Ramsay, Wes Anderson, and a constellation of dis...
Who was it who said ‘never tell me the odds’? And was it uttered in some distant galaxy’s asteroid hail, or just the butt of a colonoscopy joke? The great gamb...
In my time working at a bookstore in Princeton, NJ, I weathered three Walter Isaacson releases: “Do we have more Musk downstairs?” These glossy bricks appeared...
Frank Falisi is an Associate Editor at Bright Wall/ Dark Room. His writing has appeared in Reverse Shot, Mubi Notebook, the Los Angeles Review of Books, and other outlets. He is currently a student at CUNY's Graduate Center.
