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Bright Wall/Dark Room

@brightwalldarkroom

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A different lens on film. An independent online film journal since 2013.
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Our Midlife Crisis issue comes to an end with Russell Nichols on David Fincher’s postmodern parable, THE GAME, in which a Scrooge-esque fatcat falls into his own personal TWILIGHT ZONE. Artwork by @bturnerinfo LINK IN BIO by @brightwalldarkroom
Our Midlife Crisis issue continues with @lindseyromain on two Diane Lane films in which life is torn down, and then built back up: UNFAITHFUL and UNDER THE TUSCAN SUN. Artwork by @studioralston LINK IN BIO by @brightwalldarkroom
“MIAMI VICE goes undercover as a big-budget action film, yet reveals itself to be a mesmeric and melancholy study of how we crave the love that will disintegrate the personas we create, personas we use to survive the worlds we operate within.” —Travis Woods, concluding our Summer Blockbusters issue with an essay on @michaelmannofficial’s 2006 masterpiece, MIAMI VICE. Artwork by @bturnerinfo LINK IN BIO by @brightwalldarkroom
Several art pieces that Tony Stella (@studiotstella) did for BW/DR over the years will be on display this weekend at the Big Bad Film Fest in Los Angeles. Go see some killer action films and then bask in Tony’s work—his posters, his home video covers, his BW/DR work, and so much more. Info can be found at @bigbad_filmfest Photo credit: @bigbad_filmfest by @brightwalldarkroom
“Rob Reiner’s STAND BY ME is about memory. It’s about the ways in which the people who matter do keep standing by us, even after they’ve fallen away.” —Alec Joyner, for our Summer Blockbusters issue, on STAND BY ME (1986) Artwork by @ohhhaeee LINK IN BIO by @brightwalldarkroom
“Nostalgia is cheap, and plenty of films peddling it have died on the vine. What sets BACK TO THE FUTURE apart is not that it is nostalgic, but that it grasps nostalgia as a production, a site of labor. It doesn’t remember the past; it re-manufactures it, to spec, on a studio lot.” —Our summer Blockbuster issue continues with AJ McDougall (@oldmcdougall) on the surreal nostalgia of 1985’s BACK TO THE FUTURE! Artwork by @studioralston LINK IN BIO by @brightwalldarkroom
To kick off our upcoming Summer Blockbusters issue, we invited longtime BW/DR contributor Frank Falisi to help us work our way through DISCLOSURE DAY, the latest summer blockbuster from the director who all but created the genre more than 40 years ago. LINK TO LISTEN IN BIO by @brightwalldarkroom
“In 1976’s imagined version of 2274, do Black people exist? According to LOGAN’S RUN, you’d think the answer is no.” Our Films of 1976 issue continues with Russell Nichols interrogating the racial politics of LOGAN’S RUN Artwork by @garymillsartworks LINK IN BIO by @brightwalldarkroom
CALLING FOR PITCHES: For our July/August summer issue, we’re looking for smart, thoughtful, engaging essays on “the summer blockbuster film.” Got a killer angle on a summer classic like JURASSIC PARK or JAWS? Want to interrogate the aesthetics of Michael Bay and Christopher Nolan, or Schwarzenegger and Stallone? Feel like the filmography of James Cameron demands reevaluation in the age of AI? We want your essays and your pitches. Moreover, we’re also hoping for creative and left-field approaches to the subject. We’re not just looking for essays on Indiana Jones and the Incredible Hulk, but genre-busting surprise summer hits—films like GHOST (the highest grossing film of 1990!), FATAL ATTRACTION (the second-highest grossing film of 1987!), and THE SIXTH SENSE (the second-highest grossing film of 1999!). We’d even love to hear from you on failed attempts at the blockbuster, like SHOWGIRLS, BATMAN & ROBIN, and THE LAST ACTION HERO. A few guardrails: For the purposes of the issue, we are considering the summer film season to be any film released between May 1st and September 30th of its release year (sorry, no March or April babies like THE MATRIX or SINNERS). And unless you’ve actually seen the film, no 2026 releases, please. LINK TO PITCH IN BIO by @brightwalldarkroom
The BW/DR Podcast is back, and just in time for summer blockbuster season! Join @chad.perman and new co-host @ecantwell_author as they talk their way through one of the biggest/best summer blockbusters of all time, James Cameron’s TERMINATOR 2: JUDGMENT DAY, on the occasion of its 35th anniversary next month. Listen wherever you pod! Link in bio! by @brightwalldarkroom
“Watching ALL THE PRESIDENT’S MEN in 2026 provokes a gentle aching because it documents an ecosystem of institutional faith that no longer exists—that truth, once uncovered, possesses the power to shift the world.” — @lindseyromain for our Films of 1976 issue Artwork by @moseslee.art LINK IN BIO by @brightwalldarkroom
“To my mind, the 1976 version succeeds better than any other KING KONG remake, simply because it understands one key idea: KING KONG is a story about an ape.” —Amber Sparks on why KING KONG (1976) is good, actually, for our Films of 1976 issue! Artwork by @studioralston LINK IN BIO by @brightwalldarkroom

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