Isaac Feldberg
Journalist, Writer and Crtic at Freelance
Critic/editor/darling | @ebertvoices @menshealthmag @pastemagazine @letterboxd @filmmakermag @theplaylist @fortunemagazine @ew @bostonglobe | CFCA
Articles
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1 week ago |
filmmakermagazine.com | Isaac Feldberg
Back to selection Joan Chen in The Wedding Banquet by Isaac Feldberg in Directors, Interviews, Screenwriters on Apr 17, 2025 Andrew Ahn In approaching The Wedding Banquet, director Andrew Ahn knew his reimagining of the 1993 romantic comedy directed by Ang Lee had to navigate nuances of queer and cultural identity that he still wrestles with today.
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1 week ago |
rogerebert.com | Isaac Feldberg
Thousands of versions of Cinderella exist throughout the world, but it's safe to say that only one variant of the classic fairy tale features rotting flesh and maggots in place of a pumpkin carriage and mice, tapeworm diets and sewn-on eyelashes instead of magical makeovers, and a pivotal shift in perspective from the pure-hearted princess-to-be to her often-ignored stepsister, who'd do anything to win the prince's affections.
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1 week ago |
diginomica.com | Isaac Feldberg
We'll send you our top articles (and no marketing spam), no more than once a week. Enterprise architects were once thought of as behind-the-scenes integrators or tech translators but have since emerged as a vital connector of business and IT strategies. At this intersection, EAs must guide their organizations through major inflection points, from migrating to the cloud and modernizing legacy systems to implementing the latest technologies.
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1 week ago |
rogerebert.com | Isaac Feldberg
The latest film by David Cronenberg is his most personal in decades. Written after the death of his wife of 43 years, it's about the unending nature of grief, the strange ways that people suffer, and what truth constitutes in a world of endless, meaningless possibilities.
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1 week ago |
menshealth.com | Isaac Feldberg
THE DEBATE OVER whether war films, by depicting the act of warfare, are automatically guilty of glorifying it—in other words, over whether it’s even possible for a film to be “anti-war”—has existed as long as cinema itself, and it continues to rage today. The ideological schism at the heart of war movies is perhaps best distilled by the opposing viewpoints espoused by two of our great filmmakers.
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