Read our Spring 2026 print issue through the link in bio!
Rayson Dai’s piece analyzes Hayao Miyazaki’s latest film, “The Boy and The Heron” in relation to the rest of his filmography, arguing that it represents a larger metatheatrical statement on the function of fantasy and the meaning behind his life’s work. He finds, ultimately, that fantasy must give way to, rather than substitute real life (edited by Sally Li-Weitzner).
Cyd Okum explores the divide between American heroism and European realism in Holocaust cinema. Analyzing “Schindler’s List” and “The Zone of Interest,” the article examines how national cultures shape historical memory, contrasting redemptive fantasies with the chilling banality of evil and the inescapable reality of war (edited by Jacquelyn Song).
Ha Trang Tran’s article asks what happens when cinema centres the domestic and feminine labour that sustains life rather than the moments that transform it. Through “Roma” and “The Scent of Green Papaya,” it argues that prioritising maintenance over rupture illuminates gaps within dominant ideas of what counts as political in the first place (edited by Hannah Belle-Smith).
As contemporary film culture increasingly treats movies as statements to be judged rather than works to be explored, Leny Kasparian writes about the shift that algorithms have encouraged film discourse to navigate. In the rush for instant takes, ambiguity reads like indecision, academic reasoning struggles to trend and complexity gets ironed flat, as interpretation gives way to rapid moral positioning—often before the film has finished saying anything at all (edited by Luke Park).
Eliana Abdel-Khaleq’s essay explores Jean Rollin’s formulation of failed escape, suspended seasons, and fractured dualisms through his film The Escapees. Through these paradoxical thematic constructions and even taking upon philosophical conceptions, the film argues that freedom can dissolve into perpetual winter—where movement persists, but transformation, belonging, and renewal remain forever out of reach (edited by Lily Sussman).
Charles Laughton’s 1955 film The Night of the Hunter depicts adult corruption as dreamlike and excessive, laying the thematic groundwork for fatalism in noir. It baffled audiences, bombed at the box office, and ended Laughton's directing career. It also became one of cinema’s most singular works.
Jessie Li is a sophomore at Columbia College, majoring in Computer Science and minoring in Film & Media. She is from Shanghai, China.
Written by: @jessie.qishan.li
Edited by: @kallen.zbf
In an age where horror films need to continuously compete to meet the growing standards of an actual “scary movie”, the film Primate takes the traditional template of a horror movie whilst adding its own unique spin, with a killer ape named Ben. Nicole Au picks apart the various aspects of this movie in this review, attempting to see how Primate stands on its own and in the bigger scheme of the horror genre.
Nicole Au is a freshman at Columbia University studying Psychology and Film. When not sharing her love of film, she likes to bake, paint, find new food spots in the city, or do jigsaw puzzles. While a cinephile, she especially loves all movies starring Tom Hanks or Leonardo DiCaprio.
Written by: @nicoleee.au
Edited by: Sally Weitzner
Over the past decade, Hollywood’s largest studios have become trapped in a cycle of reboots, sequels, and prequels, driven by the mistaken belief that familiar intellectual property guarantees profit. Now, as Hollywood faces the creative consequences of a potential Warner Bros-Paramount Mega Merger, Elijah Segal analyzes what led to this creative stagnation and elucidates steps studios can take to bring Hollywood back to life, using the very methodology of originality, creative risks, and embracing constraints, to create movies that are worth the price of a ticket to see in theaters.
Elijah Segal is a freshman at Columbia University studying Film and Media and Economics. When not filming, watching films, writing about films, or talking about films, he also enjoys reading, exploring the city, and spending time with friends.
Written by: @elijahisegal
Edited by: @hhannah_smithh
La La Land is the film for the yearners, with Mia (Emma Stone) and Sebastian (Ryan Gosling) being the epitome for “right person wrong time.” La La Land is captivating in its lively dance scenes and nostalgic usage of technicolor. However, Nicole Au calls into question if this film effectively portrays a deep, painful, love story or if the stunning cinematography is just the shell of meaningless, forgettable plot.
Nicole Au is a freshman at Columbia University studying Psychology and Film. When not sharing her love of film, she likes to bake, paint, find new food spots in the city, or do jigsaw puzzles. While a cinephile, she especially loves all movies starring Tom Hanks or Leonardo DiCaprio.
Written by: @nicoleee.au
Edited by: Sally Weitzner
Matthew Colandrea recounts his experience navigating his first heartbreak with the help of movies. He narrates his journey from finding movie theatres as an escape, before turning to movies to help learn about love, all while falling in love with film again.
Matthew Colandrea is a freshman at Columbia College studying Theatre. He loves comics, film, and music.
Written by: @matt.c19_
Edited by: @senkiiso
In a time of intense political tension and a seemingly unresolvable resentment felt across the political spectrum, Bugonia functions as a direct and scathing critique of modern political extremism. Quite simply, through its depictions of delusion and conspiracy, the film exposes the narcissicism, hypocrisy, ignorance, and animalistic aggression of the Greta Thunbergs of the world.
Justin is a sophomore studying Film and English. He can often be seen in the wild DPing a short film or music video on and around campus, some which he directs himself. He refuses to identify with the niche film bro aesthetic, and thus openly enjoys Inception, Django Unchained and Se7en, even at the detriment of his reputation in the film student community.
Written by: @justingao_
Edited by: @kallen.zbf
In Sam Witt’s piece, she discusses Bill Rebane’s film Blood Harvest and argues that the film serves as a grim model for the horror genre's tendency to sexualize women.
Sam Witt is a freshman at Barnard College studying film and history. In her free time, you can find her taking photos, listening to music, taking a long walk in the park, or writing unserious Letterboxed reviews.
Written by: @samnwitt
Edited by: @yngqihu_
A way of looking at a Columbia student’s journey through college as told through Whit Stillman’s 1990s comedic trilogy Metropolitan, Barcelona, and The Last Days of Disco.
Miles Conn is a staff writer at Double Exposure. He is a third year at Columbia College studying Film & Media. His top four favorite films are Metropolitan (1990), American Graffiti, A Summer’s Tale, and Rushmore.
Written by: @milesdconn
Edited by: @lily_sussman
Gabriele Muccino’s "The Pursuit of Happyness" (2006) is inspired by the true rags-to-riches story of Chris Gardner, following his journey from a homeless salesman to a multimillionaire stockbroker. In his review, Rayson argues that despite its powerfully moving portrayal of poverty, the film’s narrative frame simply reaffirms the capitalist mantra that one’s wealth is a measure of one’s worth. What we are left with is an ideologically problematic film that provides a disappointingly narrow-minded definition of "Happyness."
Rayson Dai is a sophomore studying Sociology and Economics. He loves film, music, writing, and photography. His favorite film of all time is 3 Idiots (2009), which he watches whenever he’s frustrated with school.
Written by: @rayson.dai
Edited by: @jcsong4
Now that the Oscar winners are revealed, we look back on what and who the film lovers at Columbia predicted and preferred to win.
Morgen is a first year Film and Media and Creative Writing Student. She likes writing, the movie Rio, and drinking ginger ale.
Written by: @morgen.thompson
Edited by: @jcsong4
