Are all artists simply journalists with different styles? Adam Lerner '13 wonders what makes art work.

Leos Carax's Holy Motors combines performance art, music and film theory into one mad trip, writes Henry Staley '16.

Julia Moser '15 tackles a common phenomenon — a neighbor devoid of cinema etiquette totally ruins her movie experience. 

Rehan Dadi '15 find hope amidst confusion in Egyptian-Lebanese artist Lara Baladi's work. At her Aug. 27 sponsored by Cornell's Art Department, Baladi spoke about how her work has been affected by the Arab Spring, which erupted in 2010

The Sun reviews the Ithaca Motion Pictures Project exhibit, Romance Exploits and Peril: When Movies Were Made in Ithaca. 

A passive portrait of a conflicted man. 

Outside the Law at Cornell Cinema.

I attended exactly three films put on by Cornell Cinema last year. In descending order of theater packedness: The Dark Knight; Waltz With Bashir; L’Enfant Sauvage. The first of these films was, well, awesome — as in the biblical sense of the word (not the contemporary, frater-natural lexicon). Waltz With Bashir was gripping — as in this graphic-novel looking thing gripped my throat and coerced me into caring about a massacre I had never heard of. L’Enfant Sauvage was boring — as in I was bored. The 18th Century frog doctor and his feral friend left me squirming in my seat before the Twizzlers and popcorn were all eaten.