Screen Anarchy

Miroslav Terzić's high-school drama pairs Ruben Östlund's austere formalism with Hanekean social horror in a study of adolescent cruelty and social exclusion, punctuated by unexpected mannerist flourishes. [Read the whole post on screenanarchy.com...]

The writer, actress and producer discusses the contracting television market, the economics of internationally financed comedy and why commercial calculations must stay out of the writing room. [Read the whole post on screenanarchy.com...]

Opening with flesh and blood, Jane Schoenbrun's latest work, Teenage Sex and Death at Camp Miasma, is a continuation of the queer exploration found in their previous films, We're All Going to the World's Fair and I Saw the TV...

Mark Cousins reflects on the political urgency of documentary, the limits of the established canon, the creative possibilities of the hybrid form and the existential challenge posed by artificial intelligence. [Read the whole post on screenanarchy.com...]

Plus: 'Marc by Sophia,' 'The Land of Sometimes,' 'Lucky,' 'Ride or Die,' 'Return to Paradise S2,' ''The Activists.' [Read the whole post on screenanarchy.com...]

Japanese filmmaker Shuntaro Uchida discusses the creative and production choices behind 'Incinerator,' from adapting Kaori Ekuni's short fiction and directing first-time performers to constructing a distinctly cinematic vision of childhood through rhythm, sound, light and shadow. [Read the whole post...

As a child of the 1980s, I've come full circle: I loved it while I was in it (thank you Molly Ringwald and Amblin Entertainment), I felt cringe about it for a looong time (thank you jelly shoes and side...

Plus: 'Take Care of My Cat' and '40 Watts to Nowhere.' [Read the whole post on screenanarchy.com...]

Ochre and clay and sulphur, oh my! The poster for Agnieszka Smoczynska's big budget Artificial Intelligence dystopian sci-fi thriller, Hot Spot, is from Gravillis, the design house who did yeoman's work on the campaigns for Sinners and Obsession in the past year. ...

At one point in Nicolas Winding Refn’s oblique, morally agnostic, performatively high-camp melodrama, a character pontificates, “You know, this movie is not going to fix us.”   They are probably right. The director is far more interested in mise-en-scène still-lives...