FILMSOC BLOG

‘To All The Boys: P.S. I Still Love You’ Review

Dan Jacobson reviews the sequel to the Netflix smash hit. In the very first scene of To All The Boys:…
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‘Our Little Sister’ Review: (Re)Making Family, (Re)Visiting Home

Tomi Haffety reviews Kore-eda's acclaimed film. After its premiere at the 2015 Cannes Film Festival, Hirokazu Kore-eda’s Our Little Sister…
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‘Little Women’ Review: Amy, Jo, and the Various Iterations of Womanhood

Isobel Rose Binnie looks at the role reversal of Jo and Amy March in her review of Greta Gerwig's Little…
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60 Years of ‘La Dolce Vita’

Natalie Wooding reviews Federico Fellini’s iconic film, in celebration of its 60th anniversary. La Dolce Vita is a party. It…
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PODCAST: Reviewing the Oscars 2020

Kerem, Maria, and Daniel got together to review the Oscars 2020, discussing everything from Parasite's big wins to 1917's big…
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Sundance 2020: ‘Never Rarely Sometimes Always’ Review

Never Rarely Sometimes Always, an Eliza Hittman feature in the U.S. Dramatic Competition category, is a quiet, contemplative film about…
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Cinema and the City: Our Hometowns on Screen

There is an intimate relationship between cinema and the city. While urban environments possess ample potential for exploring space on…
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Sundance 2020: ‘Summertime’ Review

Pihla Pekkarinen reviews Carlos López Estrada's ode to Los Angeles youth.  Following the success of Blindspotting, Carlos López Estrada’s second…
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‘Primal’ (Season 1) Review: The Art of Survival, The Beauty of Compassion

Marcin Zembrzuski takes a look at celebrated cartoonist, Genndy Tartakovsky's latest work. The rawest cartoon of 2019 is, in my…
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‘So Long, My Son’ Review

Ellie Lachs reviews Wang Xiaoshuai's emotional family epic. Wang Xiaoshuai’s newest film So Long, My Son is a slow burner…
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