Seventh Row is a nonprofit Canadian film criticism publication and publishing house. We're dedicated to helping you expand your horizons by curating the best socially progressive films from around the world and helping you think deeply about them. This newsletter is run by Seventh Row (http://seventh-row.com) but features exclusive content not found on the website.
It’s not just the kiss — it’s how the film earns it
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Hello Reader, We talk a lot about endings. (Did it stick the landing?) We sometimes talk about openings. But put them together, and you unlock something about the film. That’s what this week’s episode is all about. Last week, I talked about Jane Austen Wrecked My Life as a whole: what makes it one of the best films of 2025. This week, I’m zooming in on how it begins and ends. Because in a film this thoughtful, those bookends carry serious weight. It’s not just about how the story opens and closes — it’s about how the film uses craft to shape your experience. And when you look closer, you can excitedly obsess over so many clever details:
Because in a great film, nothing is accidental. And analyzing those choices — from the very first shot to the final cut to black at the end — can help you understand why the film made you feel the way you did. That's what I unpack in this episode. I'm talking about this film. But you can apply this lens to any film worth its salt, and it pays dividends. (That said… it did take me more than four watches to catch all the things I unpack here — and this kind of close read is one of the things we dive into together inside Reel Ruminators.) Yes, Jane Austen Wrecked My Life ends on a high with a kiss. But it does a hell of a lot of subtle work to earn that high. 🎧 Listen here: Curious what else opens up when you look this closely? Join by June 2, and you’ll get access to May’s featured film and the close readings we did together — perfect if you want more of what you’ll hear in this episode. 👉 Click here to join Reel Ruminators Hope to see you there. Alex
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Seventh Row
Seventh Row is a nonprofit Canadian film criticism publication and publishing house. We're dedicated to helping you expand your horizons by curating the best socially progressive films from around the world and helping you think deeply about them. This newsletter is run by Seventh Row (http://seventh-row.com) but features exclusive content not found on the website.
Some films change every time you rewatch them — not because they shift, but because you do. The mark of a great film is that it can meet you again — and offer more. Not just because your perspective has changed, but because the film is rich enough to hold what you couldn’t yet see. This year marks the tenth anniversary of Andrew Haigh’s 45 Years — and we’re celebrating it on the podcast because it’s one of the best films of the century. I’ve watched it at least once a year over the past...
Hello Reader, This week on the podcast, I’m digging into Celine Song’s new film, Materialists, which asks: Is love enough when money is tight? It’s got plenty going for it (that cast! that blocking!), but also tiptoes around the class and money dynamics it sets up. In this episode, I get into where it works, where it falls short, and how it stacks up next to films and shows that explore similar territory (Gossip Girl, Mansfield Park, and more). A few spoilers ahead, especially when I get into...
Hello Reader, What do a British political thriller, an Indigenous Canadian documentary, and a queer South African drama have in common? Honestly… I wasn’t sure at first either. I programmed them inside Reel Ruminators because they were different: crossing genres, continents, and perspectives. And yet, in hindsight, I realized they were all circling some of the same big questions. Watching and thinking about one film changed how I watched and thought about the others. And I have an inkling...