Brogan Morris

@broganjmorris.bsky.social

Writing about film at BFI, Guardian, BBC Culture, The AV Club. London programmer @distortedframe.bsky.social.

Celebrate spooky season with us with our Halloween screening of Aussie chiller Lake Mungo 📹 Presented in association with SciFrights Podcast & introduced Dr. Lindsay Hallam 😱 📅 Tuesday 27 October ⏰ 7pm 📍 The Castle Cinema Hackney 🔗 Link in bio for tickets and more info

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Digital has allowed filmmakers to explore exciting new horizons in cinema, but it's unfortunately also a technology which allows for more lazy and artless filmmaking than celluloid ever did. Great article by @tylekurner.bsky.social.

The A.V. Club@avclub.com · last mo.

Cinematographers, colorists, and camera operators explain how shifting technologies and business expectations are blurring modern cinema's images together. www.avclub.com/why-do-movie...

Knight of Cups is image after image of stunning emptiness. On first watch I thought that made it an empty film, but it's the world that the character inhabits that's empty, his environment by turns sterile and gaudy, and hosting an endless parade of women and cameoing movie stars. Malick's 8 1/2.

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On its 20th, I wrote about Michael Mann's techno-pointillist masterpiece Miami Vice. While other filmmakers were using digital to build "houses stretched skywards" (ie digital films which aped photochemical), Mann used the technology to build a skyscraper. www.avclub.com/miami-vice-m...

Miami Vice embraced a high-tech look while Hollywood clung to the past

20 years ago, Michael Mann didn't want to replicate film with new technology, but make something viscerally new with Miami Vice.

avclub.com

Bubbling fascism, the erosion of democracy in an increasingly corporate age, violence done by the US at home and abroad - Hollywood cinema in 2026 has hardly anything to say about these things, so I looked back 52 years and wrote about The Parallax View. www.theguardian.com/culture/2026...

The Parallax View: remember when Hollywood made potent political cinema?

This Warren Beatty thriller puts all the anxieties and tension of the 70s into a blender – and delivers a perfectly paranoid pulp mystery

theguardian.com