The Canadian provocateur (and champion of misfit movies) examines the campy ennui and genuine horror of ’70s domesticity.
The Canadian provocateur sheds light on Bob Rafelson and Jack Nicholson's less celebrated follow-up to Five Easy Pieces.
The Canadian auteur reconsiders John Schlesinger's expansive take on Nathanael West's classic novella about '30s Hollywood.
In his journey through the alternative canon, LaBruce puts his focus on Michael Tolkin's 1991 fusion of female sexual melodrama and Biblical epic.
The Canadian provocateur (and champion of unfairly neglected movies) focuses on two from the late actress in which she plays against type.
LaBruce highlights Peter Bogdanovich's unfairly dismissed 1974 Henry James adaptation, a film he considers one of the best of the 1970s.
A bomb on its release, this John Travolta-Lily Tomlin camp feminist melodrama can be mined deeply for covert clues about its two stars' sexuality.
The Canadian auteur and provocateur champions the 1971 Canadian film which broke boundaries with its frank depiction of homosexuality.
A flop on release, Mike Nichols' madcap comedy is worth revisiting for Carole Eastman's subversive script and Stockard Channing's debut performance.
As a lost Jarman documentary from 30 years ago goes on release, Bruce LaBruce looks at its place in the career of the late great British director.
LaBruce writes a love letter to the film, featuring a dark, defining performance by Diane Keaton, which prompted his teenage sexual awakening.
The envelope-pushing auteur kicks off his new Talkhouse column by writing about a Faye Dunaway vehicle that ignited his passion for cinema.
Though less internationally well-known than his peers, Garrel is one of the great French auteurs and his new film finds him at the peak of his powers.
Rose McGowan, Alex Cox, Allison Anders, Bruce LaBruce and more remember the late iconic performer.
Russell Brand teams up with an intuitive filmmaking partner to showcase his particular blend of popular performance art and political activism.
The latest in the genre of maid movies is a sweet-natured addition, and much more straightforward and less perverse than others of its ilk.
A contemporary take on the the infamous Honeymoon Killers prompts a look at both the new film and the classic 1969 movie on the murderous paramours.
Can a film about young woman's violent and self-destructive acting out against the patriarchy make the best of its difficult material?
The changing of the guard at Dior is a subject ripe with dramatic potential, but is this doc too caught up with the finer points of fashion to notice?