In her article, Hannah Smith analyzes believability and subjectivity in Lance Oppenheim and Nathan Fielder’s You Can See Everything (2026) through a focus on camera work and dialogue. She argues that the questions their documentary asks are not ones of truth, but ones that hinge on belief—or disbelief—in the subject.

We often like to point out other people’s biases, but why don’t we examine our own? In the mercurial You Can See Everything, Nathan Fielder and Lance Oppenheim explore this question through a mind-bending kaleidoscope of perspectives, semantics, and doubt. By the end, the most unsettling subject isn’t Elizabeth Holmes but the documentarian himself, and the audience, who, like Fielder, tend to hear exactly what we need to.

In this piece, Sam Dameron reviews Zach Cregger’s newest film, Resident Evil. A horror-comedy, based on the popular game series of the same name.

In her review of Fiona Obertinca’s “Dandelion” (2025), Assistant Managing Editor Sadie Cho explores how the short film represents finding community as a queer teenager in a historically accurate manner and meaningfully deviates from mainstream queer movies by depicting queer joy.

Taking one of the Coen brothers’ most subtle, pensive films, Carlos applies the framework of a text pupils of Columbia’ Core Curriculum are all too familiar with, and examines how beautifully this accidental adaptation ponders life, death, and the pursuit of purpose.

This piece briefly outlines the nonwhite history of Italian immigrants in the United States before arguing that this history remains deeply embedded in the Italian characters’ oppression of African Americans. Focusing on the pivotal boycott scene, this piece shows that Lee is not only interested in displaying Black-versus-white tensions but also in how Italian Americans oppress and betray a group they were once racially aligned with as a means of securing their new racial ide

Wuthering Heights (2026) exhibits all the characteristics of camp: theatrics and exaggerated stylization. However, it lacks the essence of camp: a contradiction of oppression. The fake camp in Wuthering Heights transforms a survival strategy for the oppressed into a hollow luxury for the privileged. The financial success of “Wuthering Heights” indicates the commodification of camp, where the filmmaker takes camp, a form of resistance, and turns it into a source of profit from

What does it really mean to adapt a novel, and how can one succeed or fail in doing so? These questions have long tormented authors, filmmakers, and audiences alike. Emerald Fennell’s 2026 “Wuthering Heights” takes a controversial approach to reimagining Emily Brontë’s 1847 novel, simultaneously illuminating the question while complicating it further.

Through an analytical history of the life and times of both of its artistic fathers, Carlos examines the Marquis de Sade’s 120 Days of Sodom–a scroll stuffed into a wall in a Bastille cell that would two centuries later become the most infamous film ever made.

*The Social Reckoning* wants desperately to inherit the moral urgency and aesthetic electricity of *The Social Network*, but the magic is gone. Sorkin replaces complexity with didacticism, interiority with shorthand, and journalistic tension with contrived dynamics. The result is a hollow sequel to a story reality has already made stranger and uglier.

In this piece, Sam Dameron discusses O Brother, Where Art Thou? An adaptation of the Odyssey (which is better than Nolan’s film could ever dream to be) set in the American South. The article explores the theme of redemption and whether or not one can truly be redeemed.

Tracing Christopher Nolan’s filmography from Memento (2000) through Inception (2010) to Oppenheimer (2023), this article analyzes how the filmmaker systematically relies on emotionally burdened women to catalyze male psychological development.

This article is a reflection on Midnight in Paris, the 2011 film directed by Woody Allen. The film serves as a glance into our tendency towards escapism and nostalgia when faced with dissatisfaction in our personal lives. The article also describes my experience with film at a young age.

This review analyzes three popular renditions of Sir Arthur Conan Doyle’s beloved character–Basil Rathbone (1939-1949), Jeremy Brett (1984-1994), and Benedict Cumberbatch (2010-2017)–exploring their method, historical context, and additions to the personage of Holmes. Touching on themes of adaptation theory and cultural relativity, the piece attempts to explore how the elusive detective lives on not as a rigid creation on paper, but rather as an evolving cultural entity over

Double Exposure staff writers share their thoughts on Christopher Nolan's Odyssey

Kirsten Stewart’s biographical film The Chronology of Water (2025), based on Lidia Yuknavitch's work, captures Yuknavitch’s memory as she navigates trauma, sexuality, love, family, and writing. Memory is presented as ocean waves, colliding and roaring. Until Lidia can come to terms with the water of memory, she will be lost. Here, water takes on new and multiple meanings: life and death, breath and drowning, time and memory, filth and cleansing. The story is based on Lidi

At first glance, the gothic and the noir genre may seem quite mutually distinguishable: the former, with its castles, ghosts, and curses, involves a fear of the past; the latter, set in modern urban landscapes, a fear of the future. Yet, a deep sense of fatalism and impending doom permeates both. They also often feature anguished and troubled protagonists who try to navigate through oneiric, manic worlds. Stylistically, both employ expressionistic elements, at times even to t

In an age where horror films need to continuously compete to meet the growing standards of an actual “scary movie”, the film Primate takes the traditional template of a horror movie whilst adding its own unique spin, with a killer ape named Ben. Nicole Au picks apart the various aspects of this movie in this review, attempting to see how Primate stands on its own and in the bigger scheme of the horror genre.

Over the past decade, Hollywood’s largest studios have become trapped in a cycle of reboots, sequels, and prequels, driven by the mistaken belief that familiar intellectual property guarantees profit. Now, as Hollywood faces the creative consequences of a potential Warner Bros-Paramount Mega Merger, Elijah Segal analyzes what led to this creative stagnation and elucidates steps studios can take to bring Hollywood back to life.