Megan Feeney has a PhD in American Studies from the University of Minnesota and recently (2019) published Hollywood in Havana: US Cinema and Revolutionary Nationalism in Cuba before 1959 with the University of Chicago Press. 
Even the languid pace Cuarón uses throughout the film seems to want to elevate the (feminine and domestic) virtue of soul-nurturing stillness over the (masculine) trait of destructive freneticism. Some[…]
“Sadly for Lou, Margot just isn’t a long-term kind of gal. The promise of what she could have is so much more tantalizing than what she has. Daniel represents a perpetual new day, seemingly existing only at dawn for much of the film.”
