Michael Mann

July 5, 2025

“For the working director, there is no conscious form from film to film. We all know what our ambitions are, but in a very healthy way we are all unconscious of ‘signature’.”

Latest articles

Girls’ Dreams (1952)

The Politics of Sci-Fi: What Alien Invasions Reveal About Colonization

MadS (2024)

28 Years Later (2025)

How to Have Sex (2023)

Infested (2023)

Dangerous Animals (2025)

Drop (2025)

The Surfer (2025)

The Old Guard 2 (2025)

Caveat (2020)

The King Tide (2023)

Undercover: Inside the Bunker (2025)

Earthlings (2005)

Food, Inc. (2008)

Bring Her Back (2025)

Ballerina (2025)

Marshmallow (2025)

The Leftovers – A Lonely Journey Through Loss, Faith, and Human Fragility

The Importance of Dystopia in Sci-fi / Horror

Asylums: Factual Mental Illness vs Artistically Deranged Projection (Podcast)

Powerful Sequences, Defining Soundtracks

The Psychology of Horror: Preparedness and Purpose (Podcast)

Silent Era: The Foundation of Cinematic Horror (Podcast)

Found Footage: The Beginning, the Escalation, and its Societal Impact (Podcast)

The Horror Inside Us: Leading Anxieties and False Certainties (Podcast)

Directors and Horror Films (Podcast)

Kids in Horror: Source of Evil vs Source of Resolution (Podcast)

Influential, Dissuasive, and Thought-Provoking Monologues

Epic Plot Holes in Iconic Films

This is England ’83 / ’86 / ’88 / ’90

The Qatsi Trilogy

Original vs Remake: Hollywood’s Need to Retell the Story (or the Lack Thereof)

Indie, Low Budget, and Utterly Mind-Bending

Michael Mann

MadS (2024)

Akira Kurosawa

The Economics of Dystopia: Cyberpunk, Class Struggle, and Corporate Control in Film

Last Breach (2018)