Hitchcock's Subtextual Coding in 'Rope'
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.

Follows Marzipan, a young elfling, and her mother Cinnameg, as Marzipan must believe in the magic of the season and goes on an adventure to rediscover the enchanted snow deer named Glisten and save Christmas.
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.
Slumber Party Massacre is a gory film with just enough commentary on sexist excuses, the validity of women's voices, and the inherent feminism of the slasher.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
The Olivia Wilde renaissance is upon us.
I came across Urchin by chance and decided to watch it because of the title. It made me think of the spiky animal that lives at the bottom of the ocean, and the old Dickensian novels, where an urchin was an orphaned, homeless child in shaggy and dirty clothes.
It’s dark, uncomfortable, and there are things that don’t make sense.