Farah Cheded

Farah Cheded is a Senior Contributor at Film School Rejects. Outside of FSR, she can be found having epiphanies about Martin Scorsese movies here and reviewing Columbo episodes here.
First Reformed Hawke Seyfried

The Visual Austerity of ‘First Reformed’

By Farah Cheded 

Just like the transcendental movies Paul Schrader first wrote about 46 years ago, ‘First Reformed’ is shot in a restrained manner designed to open up space for the spiritual.

The Secret Garden

Revisiting the Earthy Children’s Classic ‘The Secret Garden’

By Farah Cheded 

With a remake out next year, the time is ripe to revisit this gothic kids’ classic.

Contagion Cinematography

The Infectious Cinematography of ‘Contagion’

By Farah Cheded 

Cinematography is a character in ‘Contagion,’ and an acutely germaphobic one at that.

Best Movie Pool Scenes

The 10 Best Swimming Pool Scenes in Movies

By Farah Cheded 

From the sparkling waters of The Graduate to Poltergeist’s oozing vat of corpses, these picks illustrate the incredible versatility of the cinematic swimming pool.

Sharp Objects Amy Adams

Everything You May Have Missed in ‘Sharp Objects’ So Far

By Farah Cheded 

HBO’s latest addictive drama is full of blink-and-you’ll-miss-them moments that provide glimpses into Camille’s troubled psyche. Here are all of them so far.

Shane Dawson Tanacon

Why Shane Dawson’s ‘TanaCon’ Series is So Gripping

By Farah Cheded 

How a YouTube series about a failed convention unexpectedly became a compelling documentary hit in the vein of ‘Making a Murderer’.

Chronicle Of A Summer Landry Angelo

The Birth and Legacy of Cinema Verité

By Farah Cheded 

How a French meta-movie from the ’60s challenged a basic convention of filmmaking, changing cinema and TV forever.

Agnes Varda Mur Murs

When Agnès Varda Went to California

By Farah Cheded 

From the Black Panthers and mural artists to Hollywood hippies, she captured a Golden State for everyone.

Summer 1993

Twin Films: ‘The Florida Project’ and ‘Summer 1993’

By Farah Cheded 

Exploring the remarkable similarities and revealing differences between these two recent additions to cinema’s treasure chest.