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Gold is Cold, Diamonds are Dead: Charlize Theron’s Relentless Search for Authenticity

By Manuela Lazic

In 2004, the same year that she won an Oscar for Monster, Charlize Theron achieved perhaps her greatest fame with the Dior television ad for J’AdoreA decade later, George Miller’s Mad Max: Fury Road was instantly canonized as one of the best action films ever made and Theron’s anti-glamorous Imperator Furiosa 

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Map of the Human Heart: My New York in ‘Nick & Norah’s Infinite Playlist’ and ‘They Came Together’

By Vadim Rizov

For ten years now, I’ve nursed an oddly specific theory: Nick & Norah’s Infinite Playlistis the most geographically accurate film about New York City, at least within the last 15 years. This is a strange thing to fixate on, not least because the film doesn’t come up much: It came out a decade ago, received generally fine reviews, and made $33 million (at least in part because it was riding the...

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Moving: On the Cinema of Kate Bush

By Willow Maclay

“Experimenting with film is exciting to me. It feels like it has purpose.”
-Kate Bush, Egos and Icons, 1993

Kate Bush has always been more than your average musical artist. It’s not ordinary to have a chart-topping single when you’re 19-years-old, let alone a number-one hit about a classic literary text of all things. From the onset, she was more than hooks. She was a wizard of merging artistic interests, folded together into a stunning presentation of everything she could offer as an artist.

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