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Orientation Issue, Fall 2023
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Film and Television
The Mundane Eeriness and Realism of “Eileen”
Kari White
, Opinion Editor
November 29, 2023
A Love Letter to Nora Ephron’s New York City
Nicole Braun
and
Evan McManus
November 29, 2023
Finding Comfort in “The Holdovers”
Allison Moffitt
, Contributing Writer
November 29, 2023
“All the Light We Cannot See” is Crushing, but Needed
Grace McCarron
, Contributing Writer
November 15, 2023
“The Killer” is a Return to Form for David Fincher
Lauren Lombardi
, Assistant Culture Editor
November 15, 2023
Sofia Coppola Returns to Grandiose Intimacy With “Priscilla”
Allison Moffitt
, Contributing Writer
November 8, 2023
The Drama That is David Beckham
Julia Leedom
, Contributing Writer
November 8, 2023
Don’t Forget to Spend “Five Nights at Freddy’s”
Nora Leach
, Contributing Writer
November 8, 2023
“The Fall of the House of Usher” Has an Intriguing Mystery at It’s Core
Michael Sluck
, Production Editor
November 1, 2023
“Henry Sugar” is a Must-Watch for Wes Anderson Fans
Michael Sluck
, Production Editor
November 1, 2023
Jaw-Dropping J.A.W. Stuns in “The Bear”
Grace Galbreath
, Assistant News Editor
November 1, 2023
Film at Lincoln Center’s NYFF Features Diverse Lineup
Allison Moffitt
, Contributing Writer
October 25, 2023
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