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

By Manuela Lazic
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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
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“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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