Crimson staff writer

Kaylee S. Kim

Kaylee S. Kim is the Arts Chair of the 146th Guard. She can be reached at

Crimson staff writer Kaylee S. Kim can be reached at

Latest Content

Kaylee S. Kim and Caroline A. Tsai

Editors’ Note: Arts Hits One Million!

We are proud to present the 2019 Arts Year-in-Review — an annual round-up of the best films, albums, TV shows, and books of the year.

Kaylee S. Kim '20

Arts Vanity: Unpopular Arts Opinions as Feminist Film Theory

As my journalistic career comes to a close, I have to ask myself: Will I ever be able to appreciate art without reading feminist meaning into it? As shown by this list, probably not.

Michael Schur and William Jackson Harper
On Campus

‘The Good Place’ Comes to Boston: Creator Michael H. Schur '97 and Actor William Jackson Harper Talk Representation in Comedy

The Crimson sat down with "The Good Place" creator Michael H. Schur and actor William Jackson Harper for a conversation on representation, philosophy, and controversial comedy.

All You Need is Love

Editors' Note

"All You Need Is Love" is the Arts Board's second annual summer supplement.

All You Need is Love

All You Need is Love

Outside the Artists' Entrance at the Palais de Festivals in Cannes.

Cannes Special Edition: Journalists Archetypes

The Cannes Film Festival attracts a number of eccentric types of journalists. Here, Crimson Cannes correspondents break them down.

"Matthias et Maxime" Still

From Cannes: ‘Matthias et Maxime’ an Unconvincing Romance

Their romance, which is intended to drive the story, inevitably feels like the subplot of two friends who must soon bid farewell.

"Nina Wu" Still

From Cannes: “Nina Wu”: An Unfocused Vignette of #MeToo

Director Midi Z attempts to engage with the #MeToo movement, but relies on the sheer shock value of the abuse of power that ensues to ground the thriller.

"Once Upon a Hollywood" Still

From Cannes: ‘Once Upon a Hollywood’ is Nostalgic Fun — If You Can Overlook Everything Else

25 years after he won the Palme d’Or for “Pulp Fiction,” Quentin Tarantino is back at Cannes with his most recent film, “Once Upon a Hollywood.”

“Gisaengchung” (“Parasite”)

From Cannes: ‘Gisaengchung’ (‘Parasite’) Feeds on Class Rage and Humor

For Bong, it’s not just the rich against the poor — it’s much more complicated, which he reveals as his film diverges from a heartfelt comedy into a gripping thriller full of vengeful violence.

Cannes Day 6

Cannes Par Jour: Day 6

The people love Tarantino, but Tarantino, why don’t you love us back?

"Portrait of a Lady on Fire" Still

From Cannes: Céline Sciamma Paints a Captivating Romance in ‘Portrait de la jeune fille en feu’ (‘Portrait of a Lady on Fire’)

Sciamma treads the fine line between subversion and historical accuracy marvelously and with a keen eye for detail, and has produced her best work yet that will surely be among this year’s prize winners.

"Lux Æterna" Still

From Cannes: Gaspar Noé is Characteristically (and Pretentiously) Self-Referential in ‘Lux Æterna’

Gaspar Noé’s message is far more explicit than usual, which thankfully takes away the typically harrowing experience of trying to make sense of his creations.

"The Lighthouse" Still

From Cannes: A Horrifying, Nautical Myth Comes to Life in ‘The Lighthouse’

Willem Dafoe and Robert Pattinson come together as a bitingly funny and erratic spectacle, drunkenly singing and dancing just minutes before damning each other to death because of a sly remark.

"Little Joe" Still

From Cannes: ‘Little Joe’ Thrives on Subtlety

“Little Joe” doesn’t have a climax, nor does it spiral into action — instead, it beautifully sustains its psychological horror and unfolds at the same, unassuming pace at which Little Joe takes over the laboratory.