Podcast #1: Halloween, Horror, and Childhood Scares

Dear Much Ado readers, get ready to be listeners!

We’re so proud to share the first episode of our podcast with you. It’s been a year (and a month) since we opened Much Ado and we could never imagine how far we’d come in such a short time.

On our Patreon page we set a goal of $75 to start working on our podcast and this month we hit that goal, thanks to your help! Every time we gain a new Patron, we come one step closer to saving enough money to pay to our writers. You can help us with as little as $1.

Our first episode is about, as it should be on October 31st, Halloween! Podcast host Charlie Dykstal talks with our writers Mia Vicino, Mary Beth McAndrews and Tyler Llewyn Taing about horror films that scared them in childhood, jump scares and how cathartic horror films can be.

Listen to the first episode on iTunes, Spotify, Stitcher and Google Play. Don’t forget to subscribe for upcoming episodes and share your feedback with us on twitter or via e-mail at muchadoaboutcinema@gmail.com.

NYFF ‘18 Review: ‘Long Day’s Journey Into Night’

Chinese director-writer Bi Gan’s second feature, Long Day’s Journey Into Night, which premiered at Cannes’ Un Certain Regard, is set in Kaili like his first feature Kaili Blues. The film has nothing in common with Eugene O’Neill’s play by the same name or with the film’s Chinese title Last Evenings on Earth, a short story collection by Roberto Bolaño. They’re both just amongst many literary and artistic references that are scattered throughout the film.

Protagonist Luo Hongwa (Huang Jue) gives to us one of the central mysteries of the film by questioning the reality of fragmented memories in the first scene, as he reminisces about a love affair he had many years ago. Throughout the film, we’re never sure if what we’re seeing is a memory or a dream, reality or plays of Hongwa’s subconscious. The first 70 minutes of the film delve into that love affair between Luo and Wan Qiwen (Tang Wei), a woman straight out of a femme fatale section of a character trope book. There are ambiguous plotlines about their mutual friend Wildcat’s murder, Luo’s father’s restaurant, a green book, but none of them reach somewhere. They’re more like part of the flow than devices that advance or enrich the story.

Long-Days-Journey-Into-Night-3-1600x900-c-default Continue reading “NYFF ‘18 Review: ‘Long Day’s Journey Into Night’”

NYFF ‘18 Review: ‘The Wild Pear Tree’

Turkish director Nuri Bilge Ceylan’s long awaited new film The Wild Pear Tree premiered at Cannes this year. Its near 190-minute runtime might be scary for audiences that are not familiar with Ceylan’s work, but it is merely a surprise to cognizant audiences. However, the film has such a captivating flow that the viewers might not even perceive the passing of three hours – it is definitely more entertaining than his last film Winter Sleep which was also over three hours. Unlike his previous films which were decorated with elegant images of nature, The Wild Pear Tree is visually more raw; less pastoral beauty and more crooked landscapes that people live in. The shots are still representative of the director’s distinctive poeticism, and the brutal landscapes are the perfect reflections of the subject matter that is the deeply rooted in the suffocating anxiety spread across the young people of Turkey.

Continue reading “NYFF ‘18 Review: ‘The Wild Pear Tree’”

NYFF ‘18 Review: ‘Wildlife’ is a Family Portrait Without Judgement

Children see themselves and their parents as parts of a single whole we call family. Some children realise later in life, as adults, the individuality of the parts that make up the family. In other cases, they’re forced to realise this when the whole collapses. A child is in one of the most helpless states they can be when they have to watch that collapse, witnessing everything that’ll contribute to the outcome that they somehow know is about to happen. A child cannot choose sides between two people who they once thought were a whole, and as we watch Wildlife through the eyes of a child in the middle of a collapsing marriage, director Paul Dano asks us, very delicately, not to choose sides either.

Continue reading “NYFF ‘18 Review: ‘Wildlife’ is a Family Portrait Without Judgement”

Much Ado Print Issue: Open For Pitches

Last month, Much Ado About Cinema celebrated its first anniversary—and what could be more fitting to celebrate one year than announcing our first print issue!

The theme for our first print issue is Universality, whatever that means to you. Here at Much Ado, we pride ourselves on sharing the voices of writers from all over the world – we want to dig deeper into what it is about film & television that unites, divides, and transcends specific audiences. What does American, Mexican, or Japanese cinema assume to be universal? What criticism do you have of your favorite film’s universal assumptions? How do sexuality, race, and class inform how we interpret universal themes? These questions aren’t restrictive, but are just meant to act as inspiration for the creative pitches we hope to receive! At the end of the day, the theme is entirely up to interpretation.

In the issue we’ll publish pieces from our staff writers and accept pieces from you. You can pitch between now and October 10th by following the instructions below.

Your pitches should be very detailed. We expect you to have a very clear idea about what you want to write, concept, style, approx. length of your piece and how it’ll relate to the theme. You can pitch personal or academic essays, features, criticism and analysis. If you have a pitch that does not fit into any of these categories but fits the theme, go ahead and submit it. While we don’t have a word count limit, we prefer pieces that are between 1500-3000. Our editors may contact you to ask you further questions about your pitch and we’ll expect you to reply by October 29th the latest.

Before you pitch, you should keep in mind that if your pitch is accepted, there’ll be rigorous editing process. We expect you to be in contact with our editors throughout the writing process during which we will ask you to submit drafts. You should be punctual with your submissions. We expect you to be open to criticism and discussions regarding your piece. It’ll be a long process but at the end, you’ll have a well thought, developed and polished piece published.

Payment will be 15$ per piece, to be paid after you successfully submit your final draft.

If you are interested, mail your pitch with a bio attached with the subject “Print Issue Pitch” to muchadoaboutcinema@gmail.com by October 10th. Make sure your bio is detailed as well, Much Ado is a community and we care about how you see and define yourself. You must be at least 18 years old. Late submissions will not be accepted.

Most Anticipated Films from Fall Festivals

As the dreadful month of August ends, fall begins and with fall comes the most wonderful time of the year: Festival Season! Venice already started, Toronto and Telluride will follow, then comes London and New York. The happiness and the discourse will spread from the sunny seaside of Italy, bringing film lovers together (or apart) until the Awards Season, in which we all will sell our souls to competition. But until then, enjoy a list of some of the films we cannot wait to see from festival season.

Continue reading “Most Anticipated Films from Fall Festivals”

Much Ado Is Looking for New Writers!

Much Ado About Cinema is now looking for new regular writers! As a Much Ado writer your responsibility is to publish at least once a month. This could be through group pieces or an individual piece. We are very open with the subjects on which we write. We publish features, reviews, and essays concerning all aspects of cinema, written by a young and diverse group of contributors. The work we publish here ranges from graduate-level analysis, to casual commentary on mainstream television, to festival coverage of the latest films. In our work, we emphasise diversity and inclusivity, and we wish to cast new impressions on the traditionally white, male and heterosexual world of film criticism.

We pride ourselves in being a community amongst everything else. All our writers and editors are friends who communicate daily. Being a Much Ado writer won’t just give you an opportunity to publish and attend festivals but also have a community where you can engage in conversations and discussions about cinema.

We especially encourage writers of colour and members of LGBTQ community to apply. We’d like to remind you that all positions at Much Ado are unpaid (meaning no one on our team earns any money from the website) and we don’t accept any applicants who are younger than 18. You can be from anywhere in the world as long as you have a good internet connection. Applications will close on the 22nd of July. Good luck!

Click here to go to the application form.