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Is “Bridge of Spies” a classic spy film?

How did “Beasts of No Nation” director Cary Fukunaga go about making the film?

How does “Yesterday, Today and Tomorrow” explore female identity and the power of sexuality?

What are the highs and lows of “Our Last Tango” as a documentary versus a performance record?

How can the composition and structure of “The Forbidden Room” best be described?

How does “Beasts of No Nation” explore the way children are exploited into becoming killers?

How does “Digging for Fire” use landscapes to assist its story?

How does “Modern Times” illustrate Karl Marx’s theory of Alienation?

What does “Our Last Tango” do to creatively tell the historical stories of its core subjects?

How does the sensory assault in “Der Nachtmahr” serve the film?

Is there a linear story in “The Forbidden Room?” Does it matter?

How can one interpret the narrative chronology of “Mulholland Drive”?