Crimson staff writer
Kaylee S. Kim
Kaylee S. Kim is the Arts Chair of the 146th Guard. She can be reached at kaylee.kim@thecrimson.com.
Crimson staff writer Kaylee S. Kim can be reached at kaylee.kim@thecrimson.com.
Latest Content
Editors’ Note: Arts Hits One Million!
We are proud to present the 2019 Arts Year-in-Review — an annual round-up of the best films, albums, TV shows, and books of the year.
Arts Vanity: Unpopular Arts Opinions as Feminist Film Theory
As my journalistic career comes to a close, I have to ask myself: Will I ever be able to appreciate art without reading feminist meaning into it? As shown by this list, probably not.
‘The Good Place’ Comes to Boston: Creator Michael H. Schur '97 and Actor William Jackson Harper Talk Representation in Comedy
The Crimson sat down with "The Good Place" creator Michael H. Schur and actor William Jackson Harper for a conversation on representation, philosophy, and controversial comedy.
Cannes Special Edition: Journalists Archetypes
The Cannes Film Festival attracts a number of eccentric types of journalists. Here, Crimson Cannes correspondents break them down.
From Cannes: ‘Matthias et Maxime’ an Unconvincing Romance
Their romance, which is intended to drive the story, inevitably feels like the subplot of two friends who must soon bid farewell.
From Cannes: “Nina Wu”: An Unfocused Vignette of #MeToo
Director Midi Z attempts to engage with the #MeToo movement, but relies on the sheer shock value of the abuse of power that ensues to ground the thriller.
From Cannes: ‘Once Upon a Time...in Hollywood’ is Nostalgic Fun — If You Can Overlook Everything Else
25 years after he won the Palme d’Or for “Pulp Fiction,” Quentin Tarantino is back at Cannes with his most recent film, “Once Upon a Time...in Hollywood.”
From Cannes: ‘Gisaengchung’ (‘Parasite’) Feeds on Class Rage and Humor
For Bong, it’s not just the rich against the poor — it’s much more complicated, which he reveals as his film diverges from a heartfelt comedy into a gripping thriller full of vengeful violence.
From Cannes: Céline Sciamma Paints a Captivating Romance in ‘Portrait de la jeune fille en feu’ (‘Portrait of a Lady on Fire’)
Sciamma treads the fine line between subversion and historical accuracy marvelously and with a keen eye for detail, and has produced her best work yet that will surely be among this year’s prize winners.
From Cannes: Gaspar Noé is Characteristically (and Pretentiously) Self-Referential in ‘Lux Æterna’
Gaspar Noé’s message is far more explicit than usual, which thankfully takes away the typically harrowing experience of trying to make sense of his creations.
From Cannes: A Horrifying, Nautical Myth Comes to Life in ‘The Lighthouse’
Willem Dafoe and Robert Pattinson come together as a bitingly funny and erratic spectacle, drunkenly singing and dancing just minutes before damning each other to death because of a sly remark.
From Cannes: ‘Little Joe’ Thrives on Subtlety
“Little Joe” doesn’t have a climax, nor does it spiral into action — instead, it beautifully sustains its psychological horror and unfolds at the same, unassuming pace at which Little Joe takes over the laboratory.
