Hold a Kaleidoscope to the WorldCaitlin Quinlanartreview.com23 August 2024A new swathe of films are rejecting realism and returning to a bolder, more liberated kind of filmmaking. Why did we ever want films to be real in the first place?
If It Makes You Cry, It Must Be GoodCaitlin Quinlanartreview.com06 December 2023The year in film: 2023 had plenty of films for ‘everyone’, but what does that tell us about the state of filmmaking today?
Cannes 2023: Hypocrisy Hidden in a Glittery ImageCaitlin Quinlanartreview.com31 May 2023In a year dominated by big-name filmmakers making their return, the festival’s troubled history and questionable ethics were once again laid bare
Do We Need Another ‘Love Letter to Cinema’?Caitlin Quinlanartreview.com21 February 2023The muddled practice of nostalgic self-referentiality in films about film drives much of mainstream movie production today
Beatrice Gibson’s Interpretation of DreamsCaitlin QuinlanArtReview09 February 2023The artist’s enigmatic films on show at Ordet, Milan enigmatically refute the binaries between the domestic and the productive
Film History According to TarantinoCaitlin Quinlanartreview.com14 December 2022Whether he realises it or not, the director’s pivot to film criticism reflects the state of mainstream cinema today
Rosé and Grotesquerie at the 75th Cannes Film FestivalCaitlin Quinlanartreview.com31 May 2022A dispatch from the French Riviera: finding the bright spots between the doom, boos and seafood
