elissa suh

I don’t know what my favorite food scene is in a movie. What I can recount is the first time I started to notice these cinematic depictions of consumption. It was in 2010 while watching Sofia Coppola’s Somewhere. Elle Fanning is staying with her father, an actor, played by Stephen Dorff at the Chateau Marmont, his habitual haunt. It is morning and he’s hungover, I think. Fanning, her character 12-years-old at this point, calls the front desk—not for room service, but to request supplies for breakfast so that she can make eggs benedict. Writing about food in the movies is the essence of my newsletter MOVIEPUDDING. For the latest issue Jake Mike Boy of @guts.mag and I gathered our favorite writers to talk about their favorite food scenes in movies—mostly about anything but. The list is stacked. Click the link in bio to read ₊˚✩彡‧and like and subscribe˚°✰ on @substack . Featuring: @aliciadkennedy @dwightgarner @imjasondiamond @marionteniade @mallicent @mimbale @mayukh.sen @emotrophywife @natashapickowicz @yeeeehawjake @garetheoinstorey

Late last year I was laid off and have been trying my hand at writing *full time.* Grateful for all the commissions I’ve had as of late (including these Profiles of Ali Abbasi and Cristin Millioti in the Art & Film issue of @cultured_mag , which you can find in the wild (at @casamagazinesny @iconicmagazines and the like). Endless thanks to @maraveitch and @emmaleighmacdonald x

Silly cake. Three years with this man with whom I now share a matching haircut. <3

@gracejanegummer has been acting since 2010, but it would have been easy to miss her. But now, thanks to her role as Caroline Kennedy in @lovestoryfx , she can no longer claim a low profile. The CULT100 cover star cut her teeth in films like ‘Frances Ha’ and on TV shows like ‘Mr. Robot’ and ‘American Horror Story.’ In ‘Love Story,’ the rare watercooler moment in recent television, Gummer’s Caroline operated as a cool counterweight—JFK Jr.’s clear-eyed older sister who helps to ground a narrative rife with pageantry. Though she’s thoroughly ensconced in the entertainment world’s most elite circles—she’s the second daughter of Meryl Streep—Gummer pushes back on parallels drawn between hers and Caroline’s life. “I didn’t have that kind of scrutiny,” she tells Elissa Suh in her cover story, noting instead that she was raised in a tiny, secluded Connecticut town by “a very famous mother,” but never sensed herself to be in the public eye. That began to change when she started dating Mark Ronson, who she married in 2021, and has been solidified by her turn in the Ryan Murphy universe. Link in bio to read how she’s meeting this main character moment, and order your copy of the 2026 CULT100 issue before the full list drops on April 23. 1/ Grace wears a full look by @miumiu . 3/ Jewelry by @chanelofficial . Editor-in-Chief: @sarahgharrelson Words: @oddbarnacles Photography: @cassblackbird Styling: @studioand Hair: @panosphair Makeup Artist: @romyglow Lighting Direction: @clay.howardsmith Digital Tech: Anthony Miller Project Management: @chloe_kerins Photography Studio Management: @_aprilellis_ Casting: @specialprojectsmedia Makeup: @valentinobeauty // The 100 individuals on CULTURED’s third annual CULT100 list span disciplines and generations. Some are household names, others operate behind the scenes. All of them are choosing risk over reward, curiosity over cynicism, and are shaping culture in real time. Each offers something that the algorithm never will. //

She transcended the constraints of the child star and the comic relief with ease. For her next chapter, @keke is setting the bar even higher. The CULT100 cover star made her name by perfecting the underdog archetype—from early, titular roles in ‘Akeelah and the Bee’ and the Nickelodeon series ‘True Jackson, VP’ to Emerald Haywood, the horse-wrangling sister to Daniel Kaluuya in Jordan Peele’s ‘Nope’—and a knack for virality. (She’s the woman who deadpanned to Amelia Dimoldenberg on Chicken Shop Date in 2022 that she’d like to be reincarnated as a rock.) Recently, Palmer has found herself occupying more rarefied cinematic air—a character arc that’s been cemented with her role in Boots Riley’s anarchic satire, ‘I Love Boosters,’ in theaters this May. She plays the defiant kingpin of a Robin Hood-esque cohort that shoplifts luxury goods to resell at a discount as a form of “fashion-forward philanthropy.” Palmer’s comic snap and devil-may-care joie de vivre carry the laughs, but there’s a vulnerability to her performance that grounds the film’s more deranged impulses, allowing its big ideas to land harder. And then there are the side hustles—a podcast, a media and content company, two books, her musical career—that have turned the star into a dynasty that reaches far beyond Hollywood. Link in bio to read Palmer’s full cover story by Elissa Suh (@oddbarnacles ), and order your copy of the 2026 CULT100 issue before the full list drops on April 23. 1/ Keke wears a @givenchy dress. 3/ Full look by @gucci . Editor-in-Chief: @sarahgharrelson Words: @oddbarnacles Photography: @danieljacklyons Styling: @benperreira Hair: @jamikawilson Makeup Artist: @basedkenken Nails: @nailsdid.byginger Production: @palm.productions.co Casting: @specialprojectsmedia Makeup: @valentino.beauty // The 100 individuals on CULTURED’s third annual CULT100 list span disciplines and generations. Some are household names, others operate behind the scenes. All of them are choosing risk over reward, curiosity over cynicism, and are shaping culture in real time. Each offers something that the algorithm never will. //

There’s Brigitte Lin… and me. Not a drill, not a joke. Testing out the old adage etc. Find me this summer 🍍

“Binoche has described a slew of her roles over time as her “sorrow sisters.” Crushing sadness tends to alternate with unbridled joy. An aspiring young actress, a prickly aging one, a mad scientist, a grieving widow—critics and audiences have been astonished by the same thing: her blistering vulnerability. Her face blooms and erupts in a fluttering laugh. Expression tracks in her eyes, which glisten and flare, rather than etch itself across her brow.”⁠ ⁠ —Elissa Suh (@oddbarnacles ) explores the compelling multivalence of the French icon. Juliette Binoche: Emotion in Motion is playing at Metrograph Theater now.

Squealing with delight, as I humbly invite you to watch me and Alison Roman introduce next week’s 35mm screening of 𝓘 𝓐𝓶 𝓛𝓸𝓿𝓮 ❤️🍷🦐 Luca Guadagnino’s delectable and sublime 2009 film starring Tilda Swinton. One night only. Tuesday March 10 @bamfilmbrooklyn Tickets available online.

My girls. 🍝👯‍♀️ just a few, there are many, many more. Instagram is not kind to cinema and aspect ratios. I wrote an essay about women eating in film—kind of an obsession of mine. You can find it online, but also in PRINT @mubinotebook Thank you @c_l1z0tte for thinking of me and making my words sharper always. ❤️

‘Pillion’ is the BDSM film we’ve been waiting for. The biker romance starring Alexander Skarsgård and Harry Melling leaves propriety outside the theater doors in favor of the sexual transgression ‘Babygirl’ or ‘Fifty Shades of Gray’ could never offer. If you’ve already taken the @pillionmovie ride and want to unpack exactly where you got off, we’ve compiled some helpful contextual notes to decode the offbeat erotic experience—as well as further viewing suggestions. You can catch them all at the link in bio. Words: @oddbarnacles

Remembering that time I, and some others, had dinner with Tessa Thompson and Nina Hoss and Nia DaCosta, not pictured, and they told me about their favorite sexy movies.

Sundance 2026 arrived in Park City with the faint yet unmistakable sense of an ending. This was the festival’s final year in the mountain town before its move to Boulder, Colorado, and the first without Robert Redford, who founded Sundance and the Institute in 1978 and passed away last September. There was no snow, which only heightened the sense of finality. The air was thick with preemptive nostalgia that wasn’t just about geography of legacy, but about a time when the festival felt like a renegade gathering—scrappy and idealistic, held together by a more belief that independent film could still exist outside the market’s gravity. Still, the week delivered its usual mix of pleasures: sturdy crowd-pleasers, a raft of absurdist comedies, and stirring documentaries that reminded you why people still gather in the cold to watch movies together, year after year. At the link in bio, Elissa Suh rounds up the best of the best, the biggest of the big, and other superlatives from a week in Park City. Words: @oddbarnacles