The Queue

The Queue is an oft-recurring column in which Meg Shields provides you with a distraction of curated video content sourced from across the web.

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Explore the full archives for The Queue below

High Heels Pedro Almodovar Sound Design

The Sumptuous Sound Design of Pedro Almodóvar

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Here’s a look at how Spanish auteur Pedro Almodóvar uses sound design to construct vibrant, tactile worlds.

Steven Spielberg Dinner Table Scenes Et

How Steven Spielberg Dramatizes the Dinner Table

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Here’s a look at all the humble, but essential, scenes in the films of Steven Spielberg that center around the dinner table.

The Promise Thai Horror

The Weird and Wonderful World of Thai Horror

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Here’s an impassioned plea for why you should shake things up and check out the wonderful and terrifying world of Thai horror films.

editing visual effects An American Werewolf In London Transformation

The Humble Cut is the Secret Weapon of Visual Effects

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What’s the oldest, cheapest special effect? The answer is just a cut away!

Delia Derbyshire Vinyl The Delian Mode

The Groundbreaking Sound of Delia Derbyshire

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If you don’t know who Delia Derbyshire is, you should. Here’s a primer on the unsung heroine of British electronic music.

Office Space Cubicle Movie

The “Cubicle Movie” and How Cinema Reflects Periods of Stability

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The 1990s were a carefree time compared to the decades surrounding it. Here’s how the films of 1999 specifically contended with this apparent stability.

The Social Network prophecy

The Endlessly Re-Watchable Prophecy of ‘The Social Network’

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It’s been a decade since David Fincher’s less-than-flattering look at Facebook’s founder hit the big screen. Here’s why we can’t stop watching this preview of the apocalypse.

The Idiots Dogme 95

What is Dogme 95, Anyway?

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Of all of the cinematic manifestos, Dogme 95 is perhaps the most infamous. Here’s a look at the origin and rules of the “Vows of Chastity.”

Michael Mann's The Keep

Why Michael Mann’s ‘The Keep’ (Accidentally) Nails Dream Logic

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Watch an interview with the director on how his 1983 film taps into the logic and frustration of dreams.