The End of Marvel, or the End of my Youth? ★★
By Aryan Aggarwal What do you get when you combine a stellar cast, an Academy Award-winning director, and unique and…
The French Dispatch (2021) ★★★
By Jack Beeching There is a tension here, as in all of Wes Anderson’s films. He is a director obsessed…
‘Horses on a racetrack’: Squid Game’s stark portrayal of exploitation under capitalism
(commentary on Squid Game by Sonja Belkin) (not spoiler free) “You bet on horses. It’s the same here, but we…
Reimagining Circularity Through a Walkthrough at the British Museum This October
Picture report by Annie Jia At one of the main entrances to the British Museum stands the iconic Great Court.…
I Killed a Lion
Short story by Michael Shapland Caleb ‘What would Mummy or Daddy think?’ ‘I’m not their blood. It’s different.’ Dan’s office…
Altman Season at the BFI ★★★★★
By Inayah Inam Reviewing the BFI Showcase of Robert Altman’s filmography during the July – August period of 2021 When…
Mitski Circles Through Reality on “Working for the Knife” ★★★★★
By Sharon Zheng Mitski follows up the success of her 2018 tour de force, Be the Cowboy, with her comeback…
The Beaver at the BFI: LFF 2021
By Syed Zaid Ali Syed Mudzhar 7 films. 7 reviews. Syed gives the alternative mega review of this year’s London…
Squashing the Competition
By Suryaansh Jain At LSE, it’s quite natural to feel stressed, tired and overworked. One might even have the rare…
An Honest Take on LSE’s Freshers Week
Written by Anonymous When you search online for ‘LSE social life’, you’re hard pressed to find a post that isn’t…
