Alain Resnais’ Hiroshima mon amour and John Cassavetes’ A Woman Under the Influence use radically different montage strategies to represent female interiority. Together, the films reveal montage, whether fractured or relentlessly continuous, as a feminist tool for depicting social constraint and the complexities of female subjectivity.

Welcoming the New Year with finals behind, Caramelo prompts the usage of troupes and the future of storytelling with its own comedic and sensitive uniqueness. Whether it be a statement piece or a slapstick comedy, it’s important to experience films that remind us of the beauty and transformation of film.