Cult Column

Cult Column: American Psycho

New York, 1987. Soft sunshine and piano notes pour into a plush apartment in Manhattan. An impossibly rich, impossibly image-conscious, Patrick Bateman (Christian Bale) strolls through various rooms, walking us through his morning routine, all in...

Cult Column: The Virgin Suicides

To her credit, Sophia Coppola has proven herself a talented artist, more than the offspring of an illustrious director. But it is difficult to identify any redeeming feature in her breakthrough directorial piece The Virgin Suicides. There’s the...

Cult Column: Toni Erdmann

Maren Ade’s 162-minute film Toni Erdmann refuses to be boxed into a genre. An ironic suffusion of the belly-achingly funny and the intolerably serious; the prudishly proper and the rebelliously mischievous; the tragically plaintive and the...

The Psycomagic Cult of Jordorowsky’s Cinema

Cinema has proven to be a theatrical stage for French-Chilean director Alejandro Jodorowsky. Every film that he directed has been a performance, wherein, like absurdist theatre, the viewers lose themselves in the chaotic psyches of his actors; and...

Cult Column

It is easy to think only of Dreamworks or Disney productions when we consider animated films, perhaps initially forgetting about more arthouse examples like the works of Hayao Miyazaki, or Spike Jonze’s short Mourir Aupres de Toi. It seems we are...

Cult Column

In his opening monologue for this year’s Oscars, Neil Patrick Harris joked about the awards honouring “Hollywood’s best and whitest- sorry, brightest”, seemingly indicating at least a modicum of self-awareness about the glaring lack of...

The Student Newspaper 2016