Brianna Zigler, Author at Film School Rejects

Brianna Zigler is an entertainment writer with bylines at Polygon, Little White Lies, Thrillist, The Film Stage, Bright Wall/Dark Room, and more. She runs a bi-monthly newsletter called That's Weird. Follow her and her big beautiful brain on Twitter: @justbrizigs.

‘Alone Together’ is a Heartfelt Look at Fan Community Amidst COVID

By Brianna Zigler

This Charli XCX documentary is less about the coronavirus pandemic than it is about community and connection.

In ‘Violet’ That Voice Inside Your Head is a Main Character

By Brianna Zigler

A distinctive style and a strong lead performance still leave something to be desired.

‘Ma Belle, My Beauty’ Conventionally Depicts an Unconventional Romance

By Brianna Zigler

Marion Hill’s serene debut feature is an enjoyable yet predictable film about a polyamorous relationship.

Are We Human, or Are We Pop Star?

By Brianna Zigler

Through the mockumentary ‘Popstar: Never Stop Never Stopping’ and the documentary ‘Miss Americana,’ the limits of humanizing the pop star persona are tested.

‘Pleasure’ is an Unglamorous Look at Breaking Into the Porn Industry

By Brianna Zigler

Ninja Thyberg’s expansion of her 2013 short film gives care to an affectingly blunt portrayal of a porn actress.

‘The Sparks Brothers’ is an Engrossing Celebration of Unsung Music Icons

By Brianna Zigler

Edgar Wright’s documentary debut is as dynamic as his comedies, offering an affecting look at the long-spanning career of your new favorite band.

‘How It Ends’ is a Warm, if Overly Cutesy, Apocalypse Comedy

By Brianna Zigler

From Sundance 2021, we review Zoe Lister-Jones and husband Daryl Wein’s quirky comedy about the end of the world.

Confident Debut ‘On the Count of Three’ is a Flawed, Bittersweet Bromance

By Brianna Zigler

Comedian Jerrod Carmichael’s existential feature debut is carried by his strong direction and its infectious character chemistry.

Tim and Eric’s Billion Dollar Consumerist Hellscape

By Brianna Zigler

In the alt-comedy duo’s foray into the world of feature filmmaking, the absurdity of American capitalism is a deadly part of our reality.