Miriam Balanescu

Chris Evans in Honey Don't!, Austin Butler in Eddington, John Malkovich in Opus, Channing Tatum in Blink Twice... Miriam Balanescu investigates this disturbing cinematic trend.

The Philippou brothers’ latest film subverts the tired genre trope that parentless children are sinister interlopers and master manipulators seeking to destroy their adopted families, writes Miriam Balanescu.

Where many recent LGBTQ+ rom-coms have crowbarred gay characters into heteronormative frameworks, this modern remake of The Wedding Banquet focuses on authentically queer themes, writes Miriam Balanescu. 

Guy Maddin’s comedy is the latest in a line of films that finds humour in extinction-level catastrophe, while also pointing fingers at the elite for its colossal failings, writes Miriam Balanescu.  

A far cry from the immaculate pretty-pink worlds of Barbie and Priscilla, Hoard revels in the more disgusting aspects of young womanhood that so much cinema pointedly ignores, writes Miriam Balanescu.