In her latest “Film Through Time” column, Maggie McAteer SC ’30 takes on David Lynch and the mysteries of his movies. She argues that understanding the plot of Lynch’s films (which are notoriously confusing) is not their intended purpose. Instead, viewers should focus on the experience of watching the film.
Film
Unboxd: You’ve heard this one before — on the magic of movie music
Ever watched a movie and immediately added half its soundtrack to your playlist? You’re in good company.
Film Through Time: The labyrinth of lies in ‘You Can See Everything’
Maggie McAteer SC ’30 attempts to dissect the new documentary phenomenon “You Can See Everything” in the latest installment of her column, “Film Through Time.”
Film Through Time: ‘Digger’ or, how I learned to stop worrying and love billionaires
In the second installation of her column, “Film Through Time”, Maggie McAteer SC ’30 contemplates the power of satire in a world that seems increasingly absurd.
Unboxd: In defense of the cinema date
Dinner for two, coffee across the table, a walk in the park. All perfectly lovely. But what about two hours in the dark?
Poem of Ecstasy: Where does ‘The Turin Horse’ lead us?
Released in 2011 and directed by Hungarian director Béla Tarr, the film “The Turin Horse” follows six days in the life of an impoverished family in the Great Hungarian Plain.
Film Through Time: Why don’t kids movies feel the same as they used to?
In her first column, “Film Through Time,” Maggie McAteer SC ’30 reflects on how recent upward trends in film quality and appreciation have not translated to the animation genre.
Unboxd: The summer’s accidental obsession — how this indie film upstaged ‘Backrooms’
“No, no, no. I thought we were having a good summer!” So did columnist Quincy Qu PO ’29, until the horror film she nearly skipped became the one she couldn’t stop thinking about.
A Nightmare on 6th St: Coping with the election with ‘Saw’
Is living with the results of the 2024 election as painful as cutting off your own foot with a rusty saw in a grimy bathroom? No, and that’s a weird analogy? Horror columnist Niko Kay Smith SC ’25 doesn’t care, and explains why “Saw” (2004) provided the escapist self care he needed the weekend after election day.
Girl Power: The consequences of female body horror in ‘The Substance’
“The Substance” uses body horror towards feminist ends — but does its graphic imagery also inadvertently create a spectacle out of female pain? Anna Peterson SC ’25 discusses this difficult tension.