"I went to see this at Film Forum (thankfully not defunct) with my husband, Ira, and my mother several years ago. Before she died, the three of us used to go to the movies together, which was in and of itself a white-knuckle experience. My mom was a vocal spectator at the movies. Sighing, gasping, moaning, even uttering words of advice or disdain to the screen were not beyond her. It was often embarrassing. Even the most vapid milquetoast piece of crap could get a rise out of her. (She had discerning taste—after all, she loved Buñuel—but movies just made her emotional.) This film is not vapid, milquetoast, or remotely crappy—far from it. Between her and the movie, I was a wreck."

"This is the first film I purchased on DVD, and it’s the film I recommend most often. Though I consider Todd Haynes a feminist filmmaker, he has a tendency to leave his female protagonists much worse off than they were before as the end credits roll. His character arcs are vicious downward spirals, and they’re utterly compelling. When I teach this film in my class at the University of Illinois, I pair it with “The Yellow Wallpaper,” a short story by Charlotte Perkins Gilman that is also about a wife and mother slowly unraveling under the pressure of her own femininity. At the end of a hard day, I often find comfort knowing that at least I am not Carol White."

"There are three movies the witnessings of which have been the most traumatic in my moviegoing times. Viridiana was one, seen in a London cinema, maybe up between Hampstead and Highgate Tubes, in 1990 or so. Another was Straw Dogs (also available as a Criterion release). The third was The Elephant Man, one of the few movies to which I remember my mother taking me. A commonality in all three (the commonality from which I recoiled) is the cruelty of the mob, which remains one of my biggest fears. I put these two movies in this list because I can’t help but value what they did to me, what they allowed me to comprehend about my relationship to the crowd."

"W. C. Fields, with wife, mother-in-law, child, daughter, and son-in-law, played by the wonderful Grady Sutton. All this is pure enjoyment. When were movies ever more alive than in the thirties, when the great performers from the musical and vaudeville stage entered films? W. C. Fields, the Marx Brothers, Mae West, Maurice Chevalier, Fred Astaire, Marie Dressler, Mickey Rooney, and Judy Garland, among so many others. They were the real authors of their films, needing little help from their directors. American films began with audiences wanting to see performers, not directors, and this, perhaps, continues to separate American films from European films, but we’re lucky to have both, and who’s to say which is really better."

"I’m tempted to say Arrival, because I used to stare at the album cover as a kid, but Voulez-Vous was sort of my introduction to proper French. The arrangements on the record are great, and Does Your Mother Know is a fantastic rock song. That riff could have easily been on a T. Rex record. “They were a little ahead of the curve. This record is right before a lot of people started combining disco and rock, and I think ABBA did it rather inadvertently. Beautiful songs, incredible production. Anybody who puts down ABBA is just plain mad. The songs are light and bouncy, but if you listen to the lyrics, there’s a lot of sadness there. Pretty interesting."

"Philip Gourevitch has written a riveting book about the Rwandan genocide and the title is part of a note to his pastor from a man who knew he was going to be killed the next day. This book examines the darkest side of human beings. As the mother of many children, including seven sons I realise the importance of bringing up my sons to find peaceful resolutions to conflict – the reality is that it is men who are the violent perpetrators. This killing component is very likely responsible for the survival of the human species over many, many centuries. But now our weaponry has succeeded our wisdom and we have not evolved away from the brutality that was useful to early human beings."

"On the face of it, this is an account of what happened to Chris McCandless, a 20-something who made his way to the Alaskan wilderness. Krakauer admits he is also exploring something inside himself through the story of this young man’s life. He’s trying to figure out what makes certain people go to a place where there isn’t any protection. What’s so beautiful is the last anecdote: The parents travel to the spot where their son died, and it gives them peace. The mother leaves a box of food, with a note: “Call your parents.” This isn’t a book about someone looking to die; it’s about someone who wanted to live and had to test himself. I think everybody has some of that inside of them."

"It’s almost like these three sisters are a part of my family... I grew up in Sweden (New York, too, and by the time I read this book, was making my own life in London in my late teens). The world around me was not exactly celebrating cultural diversity... this book, and books like “The Color Purple,” “I Know Why the Caged Bird Sings,” and “Beloved,” took me by the hand, held me, beckoned me into womanhood, aroused a love of my heritage, and love for myself. I ate this book in one serving. It was passed down my by mother... again, I’ve given it to my daughters and waited, impatiently, to talk to them about it as they’ve read."