In light of Donald Trump being elected the 45th U.S. President last week, I believe socially progressive cinema has now become all the more vital. If Trump is going to continue pedalling his hateful propaganda on
Continue ReadingAuthor: Shane Edgeworth
The Red Man (Review)
The Red Man opens at dusk, with an establishing shot of the two roads that lead in and out of a gated suburban community. The shot lingers, allowing two cars to enter before cutting to
Continue ReadingThe Rise of Progressive Asian Television in North America
It is hardly news when I tell you that North American comedy television has a history of frequently favouring the depiction of white characters, marginalising those of other races in the process (of course, this
Continue ReadingThe Sweet Hereafter (Review)
Achieving true emotional resonance in dramatic cinema is no easy task. Although many directors manage to manoeuvre its numerous pitfalls in its execution, few achieve what can be considered a perfect dramatic balance. After recently
Continue ReadingMy First Encounter with Guy Maddin
It is not always easy to identify a film’s director by simply observing the way in which it is filmed. Influence begets influence, and so the pioneering techniques developed by cinematic visionaries are later adopted
Continue ReadingDead Ringers (Review)
During my recent endeavours to better understand Canadian cinema, I encountered a film highly regarded in its history. Consequently, I decided to give my own impressions of David Cronenberg’s 1988 psychological horror film, Dead Ringers.
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