Nosferatu (dir. R Eggers): lavish remake in need of better script with sympathetic characters
Robert Eggers, “Nosferatu” (2024) Incredibly the years 2023 and 2024 saw two remakes of F
Round-up of Films seen in 2024
Dear USE readers, I haven’t seen very many films this year but I have endeavoured
North American Films | Russian and Soviet Films
Anora: Cinderella tale skewers class system and trash culture in neocapitalist society
Sean Baker, “Anora” (2024) Presenting as a comedy variation on the Cinderella story, “Anora” deftly
British Films | North American Films
Lee: a tired and flat biopic that does its heroine no justice
Ellen Kuras, “Lee” (2024) An earnest biopic, “Lee” follows the career of US photographer /
The harm caused to women and girls by queer theory and gender identity politics in “Dysphoric: Fleeing Womanhood like a House on Fire (Part 4: For a Gender Critical Future)”
Vaishnavi Sundar, “Dysphoric: Fleeing Womanhood like a House on Fire (Part 4: For a Gender
Hostility to detransitioning and what it says about the desire to control nature in “Dysphoric: Fleeing Womanhood like a House on Fire (Part 3: Trans Regret)”
Vaishnavi Sundar, “Dysphoric: Fleeing Womanhood like a House on Fire (Part 3: Trans Regret)” (2020)
The medical profession and its practices under fire in “Dysphoric: Fleeing Womanhood like a House on Fire (Part 2: Medicalisation)”
Vaishnavi Sundar, “Dysphoric: Fleeing Womanhood like a House on Fire (Part 2: Medicalisation)” (2020) In
Misogyny, female adolescence and gender identity ideology collide in “Dysphoric: Fleeing Womanhood like a House on Fire (Part 1: Being a Woman in a Woman-Hating World)”
Vaishnavi Sundari, “Dysphoric: Fleeing Womanhood like a House on Fire (Part 1: Being a Woman
Apartment 7A: regurgitating a classic psychological horror film as a boring profit-making exercise
Natalie Erika James, “Apartment 7A” (2024) Essentially a remake of Roman Polanski’s famous psychological horror
British Films | French and French-language Films | North American Films
The Substance: devastating satirical critique of Western culture’s obsession with surface appearances and material worth
Coralie Fargeat, “The Substance” (2024) It may be called “The Substance” but this film’s style