Where The Wild Things Are A

However, as I rewatched, the darkness within the film became more and more apparent. I don’t know what drew a child as sheltered as myself to this film. It follows a lonely kid trying to find his place in the world while he struggles to deal with bullies, and parents who can’t quite be the heroes we expect them to be. After watching it again, I think it was its honesty. Growing up, we don’t have the answers - even now, we don’t - and most kids films are afraid to admit it. Seeing a story come together with a lesson and a neat bow, always felt inauthentic.

Where the Wild Things Are first showed me films weren’t there to teach me a lesson, they were here to tell me I wasn’t alone. They were here to show that you aren’t the only one who was sad or confused or anxious. Simply existing in this world is hard enough: we don’t need lessons, we need support. We need to know we’re not alone, and Where the Wild Things Are showed me that’s what films are for. Looking back, I don’t regret putting on that movie. Those tears didn’t mean they hated the film, it meant they felt something while watching it. And that’s what cinema is for.

- Katie McKenna

A Parting Note

We sincerely thank all of our contributors and team members who dedicated thier time to create this issue. If you would like to get involved with TFR please email us at :

trinityfilmreview@gmail.com

From the Designer

I hope you enjoyed reading New Perspectives, our summer series issue. I know you’re a busy character but I coudn’t let you close the magazine without explaining myself first.

Much of the design art for the issue was inspired by the work of Canadian painter, Alex Colville.

Colville’s art famously inspired many iconic cinematographers. The depth and symetry of his paintings lends itself well to the likes of Wes Anderson. The lighthouse scene in Moonrise Kingdom (2012) closely resembles Colville’s To Prince Edward Island (1965). Both the movie and Colville’s work explore ways that the human eye digests a scene. Michael Mann’s Heat (1995) features a reimagining of the well known 1967 painting Pacific. Here, Colville depicts an uneasy scene of contemplation set against the placid blue ocean. The most interesting art impresses upon the audience the strange minutiae of everyday life, observing the mundane from a new perspectice of hopeful trancendance. - Seamus Conlon