Marina Vuotto

Not a straight rock biopic nor a fully glitzy movie musical, the scrappy charm of Leto comes from its somewhat revisionist history, says Marina Vuotto

Film critic Marina Vuotto shows us Hollywood’s feminist heroes

Lulu Wang’s The Farewell was the emotional highlight of Sundance Film Festival London.

High school corridors can feel like war zones, but bedrooms hold the secret to two young heroes’ identity in Olivia Wilde’s directorial debut Booksmart. Marina Vuotto takes a trip in to the private worlds of Molly and Amy to pinpoint what makes the 2019 teenage girl tick.

“There’s no pretense to understand teenagers better than they do themselves, there’s no judgement, there’s no artificiality. Instead, there is a clear, underlying conviction that teenagers themselves are interesting, and their experiences and emotions are rich enough to be worthy of being represented on-screen without embellishment, clichés, or a script that makes them sound as articulate as a 40-year-old YA writer,” writes Marina Vuotto on the unlikely creative partnership behind Eighth Grade.

Luca Guadagnino revisits the original protagonist and gives her strength, agency and nuance.

"ASSASSINATION NATION is less about witches than it is about what they represent, which is everything that is alluring and unknown"

50 love letters to cinema to which I contributed with a letter to Shirkers' director Sandi Tan.

This essay is by our guest writer, Marina Vuotto.
“It’s that thing when you’re with someone, and you love them and they know it, and they love you and you know it…but it’s a party, and you’re both talking to other people, and you’re laughing and shining…and you look across the room and catch each other’s eyes – but not because you’re possessive, or it’s precisely sexual, but because…that is your person in this life. And it’s funny and sad, but only because this life will end, and it’s this se...

I’m going to be upfront and say that Mamma Mia! Here We Go Again is a gift to mankind. It’s fun, it’s colourful, it’s endlessly loveable and appreciated by audiences and critics. Part of the reason why it’s so universally loveable is because it’s masterfully crafted: it took the original Mamma Mia! and polished it, giving it a brand new pastel look (courtesy of D.O.P. Robert Yeoman, who knows a thing or two about pastel palettes after having worked on every single Wes Anderson live action fil...

Criterion Month is a massive collaboration across 5 websites in honor of Ingmar Bergman’s 100th birthday and of the films of the Criterion Collection. We hope the celebration of this incredible director -and these classic films – inspire others to find new cinema they love and share their discoveries with others.
“What I don’t know can’t hurt me”, protagonist Mike Hammer (Ralph Meeker) naively assumes at the beginning of Kiss Me Deadly (1955). In a film noir, it is precisely this assumption w...

Dogman, starting from its title, is structured like a superhero origin story: the protagonist’s humble origins, the humiliations endured, the evil antagonist and the desire to vindicate and prove himself, are all elements that Marcello (Marcello Fonte) and the average superhero share, except the results are dramatically different. If anything, Dogman proves how harmful the superhero rhetoric can be. Marcello is, and remains throughout the story, a little man. He works as a dog groomer in the ...