Eva Phillips

‘The Girl on the Train’: Trauma, Fragmentation, and Female-Driven Resilience

The Girl on the Train

The film captures the self-deconstructions, the collisions, the rebuilding, and the acceptances of women who live with and in spite of brokenness. It functions as a kind of thesis for resilience, and a specific female-driven resilience, unafraid of battle wounds, that often is reserved only for men.

‘The Stepfather,’ Toppling Patriarchy, and Love of 80s Horror Ladies

The Stepfather

Stephanie emerges as a poised, perspicacious, and resilient female lead. She is a wonderfully surprising alternative from most of the panoply of horror heroines who are tortured, fight, and scream their way through the terrifying films of the 80s. … Stephanie embodies what each of the archetypally male characters in the film fails to, and in doing so transcends the clutches of gender expectations in the film…

We Need to Talk About Tara: ‘The Walking Dead’ and Queer Body Positivity

The Walking Dead_Tara and Denise

…To have a relationship like Tara and Denise’s was such a glorious prize. Moreover, in a time where femininity is so ensnared in the constant rhetoric surrounding the sizing of women’s bodies, and fixating on labels and valorizing or castigating a language of weight and body image that completely reduces feminine identity, to have two strong and two queer women feature prominently in a way that refuses to submit to those standards and dialogues is such a boon in so many regards.

‘Making a Murderer,’ ‘Fantastic Lies,’ and the Uneasy Exculpation Narratives by Women Directors

Making a Murderer

What is most remarkable and perhaps most subversively compelling about both ‘Making a Murderer’ and ‘Fantastic Lies,’ and about the intentions and directorial choices of their respective creators, is that neither documentary endeavor chronicles the sagas of particularly defensible — or even, to some, at all likable — men.

‘Carol’ and the Ineffable Queerness of Being

Carol movie

The potency of ‘Carol’ struck me. I found myself hopelessly enraptured by the film’s meticulously flawless and at times excruciatingly realistic depiction of the ineffability that typifies so much of the queer experience. … The film pinpoints and satiates that pulsating, unspeakable longing that I (and I know countless others) have felt too many times.

LGBTQI Week: Stranger in a Queer Land: How ‘But I’m a Cheerleader’ and Susan Sontag Defined My Trembling Identity

This is a guest review by Eva Phillips. It might come off as a bit absurd, even an effrontery to some, to suggest that a film in which RuPaul must resist the titillation of a faux-fellatio on a pitchfork and bigotry is gleefully bellowed in the hate mantra “Silly faggots, dicks are for chicks!” is […]