Call for Print Reviews

Film Matters is actively seeking book and film/DVD/Blu-ray reviews by current undergraduate students for future print issues.

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Isabella Trevisan, Author of FM 16.1 (2025) Article “The Monstrous Woman: Julia Ducournau and Feminist Counter-Cinema”

A straight-on color medium close-up, a side view, of two people, appearing to be a white man and a white woman, lying down on a bed; the woman is on top of the man, her head toward the camera as she bites her right arm, drawing blood; the man’s hand rests on top of her head.
Raw (Focus World, 2016).

Film Matters: Please tell us about your article that is being published in Film Matters.

Isabella Trevisan: My article is about Julia Ducournau’s body of work and how she discusses womanhood, depicts the female body, and approaches issues of gender and sexuality through the lens of body horror.

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Film Still Friday! | A Shift in Perspective Brought by a Single Twisted Premise: Ari Aster’s Short Film The Strange Thing About the Johnsons. By Soohwan Lee

A straight-on color medium long shot of an African American family preparing to pose for a family photo; the landscape behind them is fake.
The Strange Thing About the Johnsons (Ari Aster, 2011). © American Film Institute.

The name Ari Aster is no longer unfamiliar to horror fans. With his feature debut, Hereditary (2018), followed by Midsommar (2019) and Beau Is Afraid (2023), he gained recognition for exploring the themes of familyties and the lurking anxieties of the human psyche. Yet, his cinematic world was already deeply rooted in his short film The Strange Thing About the Johnsons (2011). At just over twenty minutes, the film is brief but powerful enough to leave audiences shaken.

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Becoming the Ex-Wife: The Unconventional Life and Forgotten Writings of Ursula Parrott (2023). Reviewed by Camryn Bryant

The cover of Becoming the Ex-Wife, published by the University of California Press, featuring a black-and-white medium close-up of Ursula Parrott

The world has never known what to do with Urusla Parrott, except for writer Marsha Gordon. In Gordon’s book, titled Becoming the Ex-Wife: The Unconventional Life and Forgotten Writings of Ursula Parrott, she gives readers a view of Ursula Parrott’s life through her writing. Born in 1899, Parrott lived the “ideal” life for a woman in the early nineteenth century. She went to the best schools, married a successful man, and had a baby. For a moment, Ursula Parrott had it all. Then, her marriage began to fall apart. Her husband had an affair, and so did she; these instances caused the couple to get a divorce, leaving Parrott devastated. Throughout the book, Gordon draws connections between how personal events in Parrott’s life became the inspiration for her bestselling books. In reference to Parrott’s first divorce, Gordon wrote “From the ashes of her unhappiness, her first novel was born” (72).

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CFP 18.1 (Open Theme)

Film Matters announces open call for papers from current undergraduates, authors who have been invited to revise and resubmit previous submissions (including authors who did not make it past our prescreening for a previous call), and recently graduated undergraduates for consideration in issue 18.1 (2027).

The deadline is March 1, 2026.

As a reminder, Film Matters uses MLA 9th edition style, although we will still accept MLA 8th edition formatting — so please prepare your submissions accordingly. Purdue OWL’s MLA Formatting and Style Guide is an excellent resource to consult for help with this.

For more information about this call for papers, please see the official document (PDF):

In addition to your essay text file, submissions should also include our mandatory contributor intake form, which collects author and essay metadata, as a separate attachment; all other identifying information should be removed from the body of the essay text file, as well as the headers/footers, in order to facilitate the double-blind peer review process.

Submissions and questions should be directed to:

  • futurefilmscholars AT gmail.com

Please note that Film Matters does not accept submissions that are currently under review by other journals or magazines.

We look forward to hearing from you! Submit your film- and media-related research papers today! 

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Announcing FM 16.1 (2025)

Cover of FM 16.1

Film Matters here highlights the TOC of 16.1, edited by students at the University of North Carolina Wilmington, which marks our first issue of 2025, as well as the first issue supported by the University of Utah. In this issue, you will find the following peer-reviewed articles:

These book reviews:

And, to round out the issue, some DVD/Blu-ray reviews:

We’re proud of all our authors! For more information about this issue, please visit: 

https://intellectdiscover.com/content/journals/fm/16/1

Are you an undergraduate author who wants to be published in Film Matters? Then we want to work with you! Please check out all the different ways you can publish with us.

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Pandora’s Box (1929). Reviewed by Corbin Bean

A straight-on black-and-white medium shot of Louise Brooks peering out from behind a door; her body is obscured by the door; only the left side of her face is revealed, in profile
Figure 1: “Like sirens luring sailors to their death with their enchanting voice, her magnetism on screen can only be described as irresistible.” Pandora’s Box (1929). Courtesy of The Criterion Collection.

My first exposure to the term “Pandora’s Box” was from one of my favorite YouTubers, EmpLemon, as he went into detail on the ancient Greek Myth and its modern implications in a video essay. Pandora was the first woman created on Earth; she was given a box by the gods and told not to open it. However, once she did open it, the box unleashed all known evil onto the world, drawing parallels to the story of Adam and Eve. While G. W. Pabst’s acclaimed 1929 film doesn’t fully capture the consequential magnitude of this myth, it still makes for a captivating story. Lulu, played by Louise Brooks, is a woman whose undeniable charm makes her appealing. Like sirens luring sailors to their death with their enchanting voice, her magnetism on screen can only be described as irresistible. As the events of the film unfold and follow Lulu, she truly is Pandora in every sense–beautiful yet completely unruly.

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Film Still Friday! | In Front of Your Face (2021). By Soohwan Lee

A slight high-angle color medium shot of an Asian man and an Asian woman sitting adjacently at a square table; the woman, who is on the right side of the frame, plays a guitar as the man watches her
In Front of Your Face (Hong Sang-soo, 2021). © Jeonwonsa Film Co.

In Front of Your Face (2021) is a Korean film directed by Hong Sang-soo. It is an independent film, directed, written, and produced by himself, with camera, editing, and music also by him. Additionally, the production company and distribution company are his own. His films are consistently invited to the Cannes Film Festival, often winning the Grand Prix, and this year he was even selected as a competition jury member. This particular film, however, featured at the 74th Cannes Premiere Section.

This film is conversation-focused; it depicts the situation in which a woman, a former actress, briefly reunites with her family and has a meeting with a director. Above is the scene where the director, Jae-won, and the woman, Sang-ok, meet and have dinner together. She refuses his casting offer and confides in him that she only has a few months to live. After she reveals everything, he asks, “What does it feel like to know you have only a few months left to live?” She responds with quiet composure, and he listens calmly. By the end of their conversation, he unexpectedly breaks down in tears. This scene shows a woman slowly and quietly coming to terms with the final stages of her life. In the following scenes, viewers see the perspectives of those around her who witness her impending death and the end of their relationship. It allows audiences to explore honest, instinctive conversations along with petty, flawed human behaviors. Additionally, there is no shot size change, which is a signature cinematic technique of director Hong. This keeps the audience focused on the characters’ conversation while making the situation more realistic.

Director Hong Sang-soo consistently captures the genuine, honest, and poignant aspects of human nature through minimalist direction and dialogue that evoke honest conversations rather than scripted lines. I personally watched his thirty-two films, including a few short films he made. In Front of Your Face lingers in my mind, with its scenes continuing to come back to me long after it ends. If you see this film and appreciate candid, realistic cinema, it will stay with you. 

Author Biography

Soohwan Lee, a third-year Film and Media Arts major at the University of Utah, is passionate about filmmaking, photography, and the art of independent cinema. Lee has created short films, one of which has been featured on the OTT platform Watcha, and enjoys exploring how films capture human emotions and leave a lasting impression on viewers.

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Self-Discovery in Crossing Delancey (1988). Reviewed by Sophia Voyles

A straight-on color medium close-up of Amy Irving in Crossing Delancey (1988)
Crossing Delancey (1988). Courtesy of The Criterion Collection.

Most of us can agree that finding what makes us truly happy is a difficult task. Whether it is because we are scared of what people will think or because we have no idea what brings us joy, we spend our lives going through the motions. Crossing Delancey (1988) represents this fight for happiness by introducing us to Izzy Grossman (Amy Irving). She finds herself in a tough spot, caught between worrying about other people’s perceptions of herself and choosing to be her authentic self. Finding what makes one happy enough to break the curse of caring what others think is not an easy task; however, with the help of her grandmother, Bubbie (Reizl Bozyk), Izzy follows this bumpy road to self-discovery and shows the audience what it takes to find happiness.

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Poetics of the Paranormal (2024). Reviewed by Sloan Salinas

Cover of Poetics of the Paranormal from McGill-Queen’s University Press

Spirits. Apparitions. Phantoms. Ghosts. The spectral after-images of people who no longer walk the earth have gone by many names over the course of many years. The ways in which they’re described and portrayed, much like anything else, have evolved along with time. In Poetics of the Paranormal, Kevin Chabot explores this evolution through the figurative – and literal – lenses of different forms of media, from medieval carvings all the way to viral internet Creepypasta.

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One Tough Dame: The Life and Career of Diana Rigg (2024) by Herbie J. Pilato. Reviewed by Elizabeth Stengell

Cover of the University of Mississippi Press book One Tough Dame, featuring a straight-on medium black-and-white shot of Diana Rigg in character for On Her Majesty’s Secret Service (Eon Productions, 1969); bibliographic image overlays the image

I hope there’s a tinge of disgrace about me. Hopefully, there’s one good scandal left in me yet.

Dame Diana Rigg

Thus begins the first line of One Tough Dame, a promising start to Herbie Pilato’s deep dive into the life and career of the boldly charming British actress. A much beloved seven-time Emmy nominee, Rigg’s acting career spanned just over sixty years at the time of her passing in 2020. Her most well-known roles include the secret spy Emma Peel in The Avengers (1965–1968), Mrs. James Bond in On Her Majesty’s Secret Service (1969), and Olenna Tyrell in Game of Thrones (2013–2017). Diana Rigg also demonstrated a great love for theater and acted in many productions, including Medea (1993–1994) on the West End and Broadway, My Fair Lady (2018) on Broadway, and several London productions of Shakespeare’s works. All of this to say that it is an unfathomable mystery to me how I never heard of such an accomplished and famous woman before reading this book.  

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