January 2025 brings with it a slight tweak to our format at InRO. Still featured will be all of the content we’ve made it our mission to deliver, but packaged a little differently and delivered according to a new timeline. Throughout the month, you’ll still find us dropping our fantastic writers’ work in interviews, essays, Kicking the Canon pieces, festival coverage, and other feature articles. New, however, is that we’ll be holding our current releases reviews until the end of each month, where you’ll find a roundup post (like this one) that highlights all the films we’ve caught up with and written about across the previous 30 or so days. Our aims in this switch-up are twofold: 1.) We hope this will allow us to better highlight the unique and thoughtful feature pieces our writers are producing on a regular basis, and 2.) that this self-gift of extra time will ensure we are best able to maintain the quality of writing that we have always sought to prioritize (and indeed seek out ourselves!) in this age of listicles, empty and ephemeral quick-takes, and the armchair cinephelia saturating social media. For now, our January thoughts.
“The art of interpretation is virtually one of translation,”[1] wrote Susan Sontag in 1964. But there is an impulse to resist interpreting that which is accidental and momentary, to take its singularity for granted. For a film like Leslie Stevens’ Incubus, one that swings between genres like a pendulum, such…
The films of Hou Hsiao-Hsien are generally centered on the collision and convergence of multiple historical forces reshaping the “present” in their image, where a step forward into the future is countered by scattershot movements toward shattered pasts. Even in a “linear” narrative like The Time to Live and The…
Put ecclesiastical matters aside, just for the moment, and ask the question: what is a cathedral? What distinguishes a cathedral from a parish church? Having put aside ecclesiastical matters, we risk now an interweave of contradiction. There are small cathedrals; there are grandiose parish churches. But that very concession proves…
David Lynch died on January 15, 2025, five days before his 79th birthday, and as obituaries and remembrances poured forth, certain descriptors of his films abounded: “surreal,” “menacing,” “dreamlike,” and so on, adjectives that grasp at but do not reach the logically cryptic yet intuitively clear power of the self-sustaining…
I was driving to see the cinema’s latest love story and stopped at a red light. On an empty street, on a cloudless night, I found myself making a U-turn. It wasn’t just that I sensed the indie I was going to was factory-made. It wasn’t that it would be…
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