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.

Tim and Tom persevere and successfully connect despite the interference of their higher power.
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.
t’s relatable and heartbreaking all at once, and it’s impossible to watch Happy Together without reflecting on oneself. The film is stunning in every aspect, and is a vital piece of LGBTQ cinema.
'Barbarian' is horror infused with something ridiculous that makes the whole thing entertaining.
'The Lost Daughter' doesn't paint over the choices Leda and Nina make as mothers as right or wrong but examines the messy in-between.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
The idea of Rosemary's baby but with lesbian partners drew me in, and I was anticipating what the film had in store with its reimagining. Unfortunately, it all felt a little too vague to leave an impact.