Our Mothers, Ourselves: The Outsourcing of Self-Care and Gender-Bending of Genre in Tully

Our Mothers, Ourselves: The Outsourcing of Self-Care and Gender-Bending of Genre in Tully

By Rebecca Alter

“One Person’s Blackmail is Another Person’s Love Story”: Violation of Boundaries as On-Screen Romance

“One Person’s Blackmail is Another Person’s Love Story”: Violation of Boundaries as On-Screen Romance

By Natalie Moore

Bloodshed in Suburbia

Bloodshed in Suburbia

By Sophia Larigakis

Boundaries of the Image: Mediated Violence in You Were Never Really Here

Boundaries of the Image: Mediated Violence in You Were Never Really Here

By Katie Elder

The Edge of Faith: Negotiating the Boundaries of Religious Identity in Paweł Pawlikowski’s Ida

The Edge of Faith: Negotiating the Boundaries of Religious Identity in Paweł Pawlikowski’s Ida

By Taryn Fleischmann

Recalling the Past: The Dynamics of Empathy in Waltz with Bashir

Recalling the Past: The Dynamics of Empathy in Waltz with Bashir

By Genevieve Citron

The Arbitrary Nature of What Defines a Career Ending Scandal, Feat. Roseanne Barr

The Arbitrary Nature of What Defines a Career Ending Scandal, Feat. Roseanne Barr

By Sam Doll

“TIME’S UP”: 30 Years of Equity? A Reflection on Inclusivity in the Film Industry

“TIME’S UP”: 30 Years of Equity? A Reflection on Inclusivity in the Film Industry

By Jeff Melvin

Talking Canadian Film and Hello Destroyer with Director Kevan Funk

Talking Canadian Film and Hello Destroyer with Director Kevan Funk

By The Film Atlas Staff

Our Mothers, Ourselves: The Outsourcing of Self-Care and Gender-Bending of Genre in Tully

“One Person’s Blackmail is Another Person’s Love Story”: Violation of Boundaries as On-Screen Romance

Bloodshed in Suburbia

Boundaries of the Image: Mediated Violence in You Were Never Really Here

The Edge of Faith: Negotiating the Boundaries of Religious Identity in Paweł Pawlikowski’s Ida

Recalling the Past: The Dynamics of Empathy in Waltz with Bashir

The Arbitrary Nature of What Defines a Career Ending Scandal, Feat. Roseanne Barr

“TIME’S UP”: 30 Years of Equity? A Reflection on Inclusivity in the Film Industry

Talking Canadian Film and Hello Destroyer with Director Kevan Funk

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Talking Canadian Film and Hello Destroyer with Director Kevan Funk

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“The film works simultaneously to enmesh Carol in the soft pinks and teals and marble gloss of her “ideal” life, and to bury her alive under the weight of their constricting conventionality.”
— @sophlgk . Read Sophia Larigakis’s analysis of constructed gendered boundaries in Todd Haynes’s Safe. Link in bio 💫

Happy birthday Ruth ❤️

Issue 2 of The Film Atlas is live. Focusing on boundaries, Issue 2 engages in a conversation around limits, both on and off screen. Featuring original cover art by Micaela Dixon. Head to www.thefilmatlas.com to get reading 💫

This photograph is by Micaela Dixon, a Canadian artist whose art is being featured in the second issue of The Film Atlas, which will be published next week. Learn a bit about our incredible creatives on our website - link in bio ☝️

most likely thinking about how the next issue of the film atlas is almost ready ✨💕✨💕✨💕

that moment when it all becomes clear @ripannanicolesmith

Spike Lee’s GET ON THE BUS is 22 years old ✨💥❤️

desperately searching for each of these outfits because WE DON’T NEED TO CHOOSE ONLY ONE SPICE 🌶

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