Paradigmatic American filmmaker Richard Linklater’s Boyhood has been much praised from the moment of its release (2014). The scope of this twelve-year project is more than a stunt, and the making of the film has become a birthright. This article weighs in on the film and its reception, considers Linklater’s French New Wave influences, and addresses how gender has been so muted, rendered illegible, if not irrelevant in the film’s reception.

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