Mixed Speak: Towards A Re-Poetics of Race and Self

Loneliness is a Kind of Death Too: The Horrors of Modern Technology in Pulse and Suicide Club

You Saw Nothing: Memory in Hiroshima mon amour

On Foreign Cinema and the One-Inch Barrier

Silence: Pure Theology?

Enter The Anime, or How To: Orientalism 101

Tokyo Sonata: The Nuclear Family in Disarray

What’s In A Name: Isao Yukisada’s GO

Documentary Ethics and Disability: Kazuo Hara’s Goodbye CP

Tag: Feminist Body Horror?

Night Is Short, Walk On Girl: Stream Of Consciousness Anime

Kuroneko: On Rape-Revenge and The Monstrous Feminine

Theatrics and Absurdity in Death By Hanging

Grotesque Kawaii: Mika Ninagawa’s Helter Skelter

The Magic of Film: Seeing Is Believing?

Knives Out and Bacurau: Study in Satire [Part Two]

Knives Out and Bacurau: Study in Satire [Part One]

Gender in Anime: Satoshi Kon’s Perfect Blue and Millennium Actress

The Asian Queerscape in Cinema

Disney’s The Lion King: Anthropomorphizing Class Hegemony

The Eternal Zero: WW2 Victimhood, Historical Revisionism and A Legacy of Militarism

Hitchcock Then and Now: Rebecca

Bong Joon-ho’s Lessons in Suspense

Non-Fictional Dreamscapes: Mati Diop’s Atlantique(s)

Happy Old Year: Minimalism in a Maximalist World

It Follows and Revisionist Horror: Can The “Final Girl” Be Feminist?

Mao’s Last Dancer: Diaspora, Assimilation and Mobility

The Case For The Comic Book Style

Cyber-sex: Gender in Ghost in the Shell

Sexual Violence and The Female Gaze

The Mourning Forest: A Meditation on Living

Why We Should Stop Caring About The Oscars

Wes Anderson Land: Land of Whimsy and Orientalism

Unfulfilled Desire: On Wong Kar-wai and the Limits of Auteurism

Tampopo: Ramen, With a Side of Satire and a Whole Lot of Heart