“The Bear” season 2 floored critics and fans alike. Film columnist Hannah Eliot SC ‘24 discusses why the hit show is one of the best prestige television shows streaming today.
Author: Hannah Eliot
Film files: The controversial legacy of ‘Lost in Translation’
In anticipation of Sophia Coppola’s return to Hollywood with “Priscilla,” film columnist Hannah Elliot SC ‘24 looks back on Coppola’s magnum opus: “Lost in Translation.”
Film files: Five films, five countries
Film and TV columnist Hannah Eliot SC ’24 wants you to watch more foreign films. For this week’s column, Eliot recommends five foreign films from five different countries for your consideration.
Film files: “Bottoms” doesn’t take itself seriously… at all
Emma Seligman’s Bottoms is the comedy of September. The hype is justified, writes Film & TV columnist Hannah Eliot.
Film files: The haunting tenderness of ‘Bones and All’
Chilling horror and sensitive teenage love make “Bones and All” a cannibal romance for the ages, writes film columnist Hannah Eliot SC ’24.
Film files: ‘Moonage Daydream’ pulls us back into Bowie’s orbit
The new David Bowie documentary “Moonage Daydream” paints the artist in a light not often seen, writes film columnist Hannah Eliot SC `24
Film files: ‘Industry’ finds comfort in chaos
HBO’s “Industry” is intense, hypnotic and well worth watching, states television and film columnist Hannah Eliot SC `24.
Film files: ‘The Rehearsal’ is Nathan Fielder’s dizzying magnum opus
Nathan Fielder’s new show “The Rehearsal” isn’t as unethical as it seems, argues TV and film columnist Hannah Eliot SC `24.
Film files: Summer films and TV shows to cure your finals-week blues
Need an excuse to procrastinate, or want something to look forward to after finals? Film columnist Hannah Eliot SC ’24 has you covered with film and TV recommendations.
Film files: ‘Summer of Soul’ is a testament to Black unity and pride
“Summer of Soul” is a beautifully edited, contextualized time capsule of late-60s Black America in Harlem, pop culture columnist Hannah Eliot SC ’24 writes.