Evan Amaral

Cinema is, by definition, spectral. When we watch old films, we are not only witnessing history; we are seeing the movements of those long dead, their ghosts captured in a strip of flammable plastic. The projected image is our medium, ...

In 1978, writer-producer Debra Hill and director John Carpenter put their heads together to give horror a new name. That name was Michael Myers, the most terrifying slasher villain since “The Texas Chain Saw Massacre”’s Leatherface. Grossing an adjusted $46 ...

Hollywood, a decades-old dream factory speckled by the brightest stars, is often nothing more than a dream itself. Beneath that magical commune lies a cold, ruthless machine — one that grinds some of its most brilliant artists into a pulp, ...

A young, ambitious talent longs for stardom. Show business swallows their soul — it’s a desperate deal with the devil in exchange for fame and fortune. It’s a tale as old as time, and it’s become one of American popular ...

This summer, moviegoers took part in an annual ritual, flocking to theaters for entertainment, emotional experiences and an escape from the heat. As usual, caped crusaders and franchise fare dominated the box office, but 2018 saw a number of unconventional ...

Starting in the mid-2000s, the Mumblecore movement was seen by critics as the future of American independent cinema. Its films were made on shoestring budgets, emphasizing dialogue and character relationships above plot. Some of Mumblecore’s most influential figures have risen ...

With her brilliant 2014 debut film “Appropriate Behaviour,” director Desiree Akhavan probed into her own identity as a bisexual, Persian-American woman. While that film starred Akhavan herself and found comedy in the tribulations of New York youth, her second feature ...

In documentaries, individuals are often presented as they are, as a “real” person. But what happens when they are cast as themselves in a narrative feature? At best, it lends a sense of authenticity to a film that a director ...

At a time when the one percent owns an alarmingly disproportionate amount of wealth, images of upper-class grandeur saturate our culture and portray excess as something to aspire to, symbols of the all-too-abstract notion of “making it.” In her new ...