doubleexposure

undergrad film and media journal of columbia university

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@DiscussingFilm

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@Brizksie Can’t wait for Braniac to be a homewrecker too

[dan hentschel @danghentschel]

Filmmaking can never be ethical. You are stealing light and sound and putting it inside a little box. That is not nice

[Horned Sphere @Horned_Sphere]

That new Nathan Fielder movie had the hipster theater hootin and hollerin like a black church last night

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@DiscussingFilm

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Narnia looks unbelievable and Vision Quest is actually solid. Girls is coming back. Something is shifting.

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@DiscussingFilm Greta you have to stop. You smoke
too tough. Your swag too different.

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In Jessie Li’s piece, she explores how Charles Laughton’s 1955 film "The Night of the Hunter" depicts adult corruption as dreamlike and excessive, laying the thematic groundwork for fatalism in noir.

Read her full article below:
https://t.co/PN1f8hpqot

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In Nicole Au's piece, she picks apart the various aspects of "Primate" in this review, attempting to see how the movie stands on its own and in the bigger scheme of the horror genre.

Read her full article below:
https://t.co/UIaT4UmkEH

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In Elijah Segal’s piece, he analyzes what led Hollywood’s largest studios to become trapped in a cycle of reboots, sequels, and prequels, and elucidates steps studios can take to bring Hollywood back to life.

Read his full article below:
https://t.co/cAKTLB9U3v

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In Nicole Au's piece, she calls into question if "La La Land" effectively portrays a deep, painful, love story or if the stunning cinematography is just the shell of meaningless, forgettable plot.

Read her full article below:
https://t.co/98gEMLAlNC

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In Matthew Colandrea's piece, he describes his experience navigating his first heartbreak with the help of movies.

Read his full article below:
https://t.co/LIFv4CuHew

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In Justin Gao's piece, he analyzes how Bugonia functions as a direct and scathing critique of modern political extremism in a time of intense political tension.

Read his full article below:
https://t.co/ufprtlkJs9

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In Sam Witt’s piece, she discusses Bill Rebane’s film Blood Harvest and argues that the film serves as a grim model for the horror genre's tendency to sexualize women.

Read her full article below:
https://t.co/TzzvcaCzsM

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In Miles Conn's piece, he looks at a Columbia student’s journey through college as told through Whit Stillman’s 1990s comedic trilogy Metropolitan, Barcelona, and The Last Days of Disco.

Read his full article below:
https://t.co/3aXkBFKAGy

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In Rayson Dai's piece, he argues that despite The Pursuit of Happyness's powerfully moving portrayal of poverty, the film’s narrative frame simply reaffirms the capitalist mantra that one’s wealth is a measure of one’s worth.

Read his full piece below:
https://t.co/la4Vj8sqvT

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In Morgen Thompson's piece, she looks back on what and who the film lovers at Columbia predicted and preferred to win now that the Oscar winners are revealed

Read her full article below:
https://t.co/odqImIiP3M

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In Caleb Lee's piece, he argues that the rise of inappropriate and performative laughter is a reflection of a more disturbing social trend that prevents us from dealing with sincerity in our everyday lives.

Read his full article below:
https://t.co/kcVpXq8xDt

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In Asha Ahn’s piece, she reviews Kelly Reichardt’s “The Mastermind,” a minimalist, tragicomic twist on the heist genre, following Josh O’Connor as an apathetic family man whose amateur art theft slowly falls apart.

Read her full article below:
https://t.co/ssYYNgZOWY

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In Ha Trang Tran’s piece, she examines how the protagonists’ bodies become spectacles within institutions of power in Coralie Fargeat’s “The Substance” and Kaouther Ben Hania’s “The Man Who Sold His Skin.”

Read her full article below:
https://t.co/N8OOWx5WhN