The film looks beautiful, using natural locations and available light, all of which creates a real sense of the environment.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
A dispatch from Sundance on two films competing in the World Cinema Dramatic category.
A look ahead at the 118 features that will be competing at this year's Sundance Film Festival.
A packed column on the latest on streaming, DVD, and Blu-ray, including American Made, Brad's Status, Brawl in Cell Block 99, Stronger, The Mountain Between Us, and more!
A look at the contenders for Best Actress and Best Supporting Actress this year and how many of them play a historically-beloved role for Oscar, the mother.
A report on some good films coming your way from Telluride and Toronto this year.
A preview of the 2017 Toronto International Film Festival, which starts tomorrow.
The latest from Venice includes Darren Aronofsky, Jim Carrey, and Tony Clifton.
A report on classic films restored and presented at this year's Venice Film Festival.
The 25 films we're most excited to see during the fall of 2017.
An interview with director Pablo Larraín about crafting his fascinating historical drama "Jackie."
An excerpt from the August 2016 issue of Bright Wall/Dark Room about Darren Aronofsky's "Noah."
Moira Walley-Beckett’s dreary STARZ series borrows many of its melodramatic clichés from Darren Aronofsky’s “Black Swan.”
An analysis of recent faith-based releases, including "God's Not Dead" and "Heaven Is For Real."
A piece on the use of animals in film in light of "White God".
A report from the 2015 Film Independent Spirit Awards.
An excerpt from Faith and Spirituality in Masters of World Cinema Vol. 3.
A piece on four films from the opening week of the 2014 New York Film Festival: "Heaven Knows What," "Seymour, an Introduction," "Stray Dog" and "Beloved Sisters."
A piece on the best releases new to streaming services and Blu-ray in the last two weeks, including "Noah," "Scanners," and "Life After Beth."
The science, ethics and rubber suit of Godzilla; Ralph Bakshi on animation's past and future; Ellen Burstyn on acting and direction; what videogames taught movies.
Moments in everyday life, captured; Hank Aaron's home runs turned into singles; Say Anything 25-years later; Examining Noah through a Jewish lens; A Silicon valley disaster.
Richard Roeper reflects on his long friendship and professional association with Roger Ebert.
American education is uneven rather than simply mediocre; what NYC sounded like in the 1920s; X bassist John Doe speaks; director Jeff Tremaine on pranking people; lousy films with great soundtracks.
Aranofsky, Paramount spar over "Noah"; parsing "Chungking Express"; why impassioned female leaders get a bad rap; Oliver Stone, Jamie Foxx to collaborate on MLK biopic; oh, and online we're all awful.
Some of our contributors muse on pies in the movies. Yes, you read that right.
Mirrors and reflections have always been an obsession for filmmakers from all over the world - something that came as a result of the wealth of symbolism that they inspire, of course, but also of the psychological development all of us go through in order to recognize ourselves as individuals. (That led, for instance, to Jean-Louis Baudry's brilliant analogy of the film spectator as someone regressing to the "Mirror Stage" described by Lacan). From Buñuel to Hitchcock and from Fritz Lang to Tarkovsky, directors from different eras and different styles have used doubles as a thematic basis of one or more of their works -- but perhaps it has seldom been used so intensely and organically as in Darren Aronofsky's "Black Swan."