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ARCHIVE

  • Marta is the Key to Why ‘Knives Out’ (2020) is so Brilliant
    9th Feb 2020

    Marta is the Key to Why ‘Knives Out’ (2020) is so Brilliant

    Gavin Spoors
  • The Machines Will Save Us: Robots, Artificial Intelligence and Eco-Fiction
    5th Feb 2020

    The Machines Will Save Us: Robots, Artificial Intelligence and Eco-Fiction

    Josh Sandy
  • Hitting Zero: How ‘Cheer’ Uses Its Cheerleaders to Re-Invent Its Narrative
    4th Feb 2020

    Hitting Zero: How ‘Cheer’ Uses Its Cheerleaders to Re-Invent Its Narrative

    Georgia Davis
  • ‘Parasite’ (2019) and the Myth of Upward Mobility
    25th Jan 2020

    ‘Parasite’ (2019) and the Myth of Upward Mobility

    georgeforster1998
  • All Gold Everything: The Dark Fantasy of the Safdie Brothers’ Uncut Gems (2019)
    24th Jan 2020

    All Gold Everything: The Dark Fantasy of the Safdie Brothers’ Uncut Gems (2019)

    Joe Cross
  • Between the Lines: The Screenplay Oscar Nominees
    24th Jan 2020

    Between the Lines: The Screenplay Oscar Nominees

    Gavin Spoors
  • Raw (2016) is a Radical Coming of Age Horror Film That Gives Women Power Over Their Desires
    22nd Jan 2020

    Raw (2016) is a Radical Coming of Age Horror Film That Gives Women Power Over Their Desires

    Jenni Holtz
  • That’s So Gay… A Column Investigating LGBTQ+ Subtext in Film
    21st Jan 2020

    That’s So Gay… A Column Investigating LGBTQ+ Subtext in Film

    Michaela Barton
  • ‘Toy Story 4’ and the Love That Defines Us
    21st Jan 2020

    ‘Toy Story 4’ and the Love That Defines Us

    Paige Kiser
  • ‘Star Wars: The Rise of Skywalker’ and Its Failure to Reach a Cathartic Ending Through Reylo
    20th Jan 2020

    ‘Star Wars: The Rise of Skywalker’ and Its Failure to Reach a Cathartic Ending Through Reylo

    Thalia Castro
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