Bright Wall/Dark Room
12 stories
Bright Wall/Dark RoomUSADeath of the Cool Mann’s cinema is that of love and longing on a life-and-death scale—all that matters are the compressed moments we have in which to share it.
Bright Wall/Dark RoomUSAMe and Superman, Too: A Metropolis Memoir What I’ve grown to appreciate is that Superman II is really a movie about the necessity of Superman as an American myth—about the very meaning of Superman.
Bright Wall/Dark RoomUSAStale Popcorn: Reflections on the Failed Blockbuster More often than not, the blockbuster bomb is true of heart, true of passion, and truly, deliriously confounding. These disinherited poor relations aren’t so much Hollywood’s nightmares as they are fever dreams: wild, hal
Bright Wall/Dark RoomUSASongs for the Newly Dead With Zeus's Law under threat, The Odyssey completes Nolan’s run of films about the end of the world, with each reflecting the way that each generation—perhaps his own most of all—has doomed our future.
Bright Wall/Dark RoomUSAEpisode #72: The Hunt for Red October (with Chris Cantwell) This month writer, producer, director, and showrunner Chris Cantwell ( Halt and Catch Fire, The Terror: Devil in Silver ) joins us for a deep dive into the 1990 Sean Connery classic, The Hunt for Red October .
Bright Wall/Dark RoomUSABlimps and Pimpernels: Powell and Pressburger and the Myth of Britishness Over the two decades of their collaboration, the films of Michael Powell and Emeric Pressburger emerged as the working out of a love affair with Britain and Britishness.
Bright Wall/Dark RoomUSAMoment, Expand Rob Reiner's Stand by Me is about memory. It’s about the ways in which the people who matter do keep standing by us, even after they’ve fallen away.
Bright Wall/Dark RoomUSAShy Creatures: on Brief Encounter And so, in the dream-logic of this particular shade, the express train in Brief Encounter is called the express not only because it doesn’t stop, but because, in its not-stopping, it expresses the shy heart of Laura Jess
Bright Wall/Dark RoomUSAA Nice Place to Live Nostalgia is cheap, and plenty of films peddling it have died on the vine. What sets Back to the Future apart is not that it is nostalgic, but that it grasps nostalgia as a production , a site of labor. It doesn’t rememb
Bright Wall/Dark RoomUSAA Hope for a Minotaur: Cannes 2026 on a 3 Days Pass This, too, is the condition of festival-speak. I pick some films over others because the framework of my experience is not experiential; it is exegetical. I organize myself around opinions I am going to have about things
Bright Wall/Dark RoomUSAThe Speculative Empathy and Radical Hope of Disclosure Day For most of Spielberg’s career, science fiction has been the mechanism through which he learns and teaches empathy. But in Disclosure Day , empathy itself is the speculative leap. The genre function is inverted: science
Bright Wall/Dark RoomUSAImmersed and Submerged: Lucrecia Martel’s Nuestra Tierra (2025) Lucrecia Martel’s new documentary feature Nuestra Tierra is a portrait of a particular community on a particular plot of land in a particular municipality, but it opens in the non-descript vacuum of space.
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