Coulture
The Cobbler is a short film written and directed by Tyson Edwards, produced by Keller Huffman and starring Dillon Cavanagh and Caroline Cochrane.
Ahead of its premiere at the Carolina Film Association showcase on April 23, Coulture’s editor-in-chief Clay Morris spoke with some of the film’s cast and crew about the process of making the film and what viewers can expect to see in the horror-comedy.
We are rapidly approaching the most romantic holiday of the year, and it’s time to indulge in all the romance flicks you can find. Call me cheesy, but Valentine’s Day is one of my favorite holidays.
To save you the trouble of scrolling through streaming platforms for the perfect film, I’ve compiled a list of twelve of the best winter movies for the twelve days of Christmas. If you’ve got any time to spare in the coming weeks, grab some hot chocolate, light an overpriced seasonal candle from Bath & Body Works, and work your way through this ultimate movie marathon.
While most soundtracks are produced to underlay their respective films, the Shang-Chi soundtrack was made to accompany what the viewer sees on the screen. Each song was carefully curated to enhance the scene and is left lingering in the back of the viewer’s mind long after it has ended.
Everyone’s favorite Beacon Hills hot girl, Scott McCall, is back and hopefully better than ever: and I have thoughts about it.
With its awful effects, cringy assumptions of how teenagers act and the worst casting decision Hollywood has seen in a very long time, I believe “Dear Evan Hansen” will soon become one of these ironic cult-classics.
After extensive research (movie-watching), I have curated what I believe to be the best list of spooky season media in no particular order for your viewing enjoyment.
I Care A Lot follows Marla Grayson, Pike, and her lover/business partner Fran, Eiza González, as they systematically, and somehow mostly legally, grift the livelihoods of old people. First they assume guardianship of the elderly with help from one corrupt doctor and an overworked judicial system. Then they promptly put them in nursing homes — cutting them off from their families as they sell their homes and belongings. The plausibility of the grift and its alignment with the morality of productivity culture seems to be the movie’s primary social commentary. It is terrifying to watch.
The idea of living as if there is an ever-present audience and the idea of comparing ourselves to the fictional ideals we grew up with both remind me of a philosophical framework for self-understanding called narrative identity.