The 26th Philadelphia Film Festival is finally upon us, and it’s not too late to pick up tickets for some of the year’s biggest awards contenders.
Gerwig’s primary motivation for writing about Lady Bird and her family was that stories about parents losing their children are often ignored. “Every child’s coming of age story is someone’s letting go,” she described, “and I was interested in both sides of the story.”
One of the most anticipated titles at the festival, Call Me By Your Name earns its reputation as a modern gay classic.
The sequel to Ridley Scott’s 1982 Blade Runner is a phenomenal continuation of the original film. Though repeating the first installment's themes of defining humanity, Blade Runner 2049 complicates that question by further blurring the hierarchy between humans and their replicant slaves.
Eighteen years later, *The Blair Witch Project* continues to succeed in creating an unsettling atmosphere that unnerves its viewers long after the movie has ended.
Director Koganada’s debut film Columbus offers a look into the nuances of platonic friendships and family relationships, exploring deep and unexpected connections spurred by unlikely circumstances.
In The Witch, Eggers induces suffocating anxiety via the veneer of “A New-England Folktale.”
Heralded as the “hidden gem of Japanese Animation,” Belladonna of Sadness is unlike anything I’ve ever seen.
The Florida Project is warm, generous, and a remarkably assured follow up from Tangerine director Sean Baker.
So has Wonder Woman’s success actually expanded opportunities for female directors in Hollywood? Evidently, it hasn’t.