Opening Statement

That’s the thing about melodrama: the intense, heightened drama playing out on screen isn’t mimicking reality, but it’s also not trying to. The tears on the audience’s faces though, that’s what’s real – by Sarah Gorr, October 10, 2016

Feminism in a Feminine Space

To turn on All That Heaven Allows is to be welcomed into a decidedly feminine space. The movie isn’t so much for women, as it’s an invitation to identify with and understand women – by Sarah Gorr, October 11, 2016

Scenessential: Love in Darkness and Light

Does Cary want to live an isolated but familiar life within the cool embrace of her community or an uncertain, socially unacceptable, and likely fulfilling life with her lover? – by Alex Moore, October 12, 2016

Before All That Heaven Allows: Sirkian Melodrama in Nazi Germany

It was in Germany that Sirk began to develop the recognizable style of melodrama that we see in films like All That Heaven Allows: namely, an elaborate mise-en-scene that often clashes with the overt content of the story – by Patrick Brown, October 13, 2016

Related Review: Ali: Fear Eats the Soul

Fassbinder’s Ali: Fear Eats the Soul is a thoroughly German adaptation of the heartbreakingly beautiful Rock Hudson vehicle. As such, it’s similarly moving but with an edge and peculiarity that’s mostly missing from Sirk’s original – by John Gilpatrick, October 14, 2016

Further Streaming: Melodrama

From many of the greatest silent films directed by Griffith, Chaplin, or Murnau creating the roots of melodrama to modern waves from international cinema, the genre continues to make us love and cry – by Aaron Pinkston, October 14, 2016