Theviewfinder

Knights in parental armour: On Juno, Schitt's Creek and parents as the secret vigilantes of our lives

I can wager that once Juno, David and Alexis get older, they bicker with their parents. They probably see them as problematic people with deep-set biases.

The zero-sum game of caregiving: Notes on watching Solos, The Father, and Dick Johnson Is Dead

We tell ourselves that we love our parents too much to see them suffer. But is our love honourable if it doesn’t involve sacrifice?

The goodbye drills of Nomadland: Rethinking the cinema of travelling, through the 2021 Best Picture Oscar winner

In Nomadland emerges the truth that we don’t travel to forget, we travel to forgive.

Another Round and the adolescence of adulthood: Why the Mads Mikkelsen film is unnerving to confront

By finishing on a high, Another Round becomes a rare film that injects the collectivism of adulthood with the individualism of intoxication.

The mother of my stories: Neither Boyhood's Olivia nor Kapoor & Sons' Sunita, perhaps The Threshold's Rinku holds a clue

In theory, my mother is a striking hybrid of exception and norm: a rare blend of cultural independence and domestic subservience. Yet, she resembles no cinematic stereotype from either side.

Normal People and the optimism of heartbreak: Uncovering the disconcerting beauty of Marianne and Connell's story

Most couples part only to end up with different partners. However, the parting of Normal People allows the couple to consider different versions of the same partner.

The dysfunctional and the delayed: From A Star is Born to Honey Boy, there's a pattern in the symptoms of the shattered

It’s difficult to script a human who flouts the social norms of age, as opposed to a character who flaunts a sustained resistance to time.

The prescient wisdom of Arrival: How it uncovered a culture of healing 4 years before the world began bleeding

In many ways, the 2016 release is the consummate pandemic film.

In the Mood for Love: The romantic imposters of Wong-kar Wai’s transcendental narrative

The general consensus is that In the Mood for Love is one of the greatest love stories ever made. This is because, in many ways, In the Mood for Love is the greatest love story never made.

It’s in our blood: Thoughts on watching 50/50, and being by a friend's side through cancer

Cancer, by nature, lacks the fullness of a film. It is in fact the intermission of other films — of family dramas, workspace comedies, psychological thrillers...and silent bromances.