I thought a lot about Nora Ephron when I was making my first film, Romantic Comedy. I thought about how, if the genre was held in the same esteem as thrillers or dark dramas, Ephron—who wrote and produced When Harry Met Sally, and wrote and directed You’ve Got Mail, Sleepless in Seattle and Bewitched—would be considered a titan, as lauded as Scorsese or Kubrick. But as rom-coms are often dismissed or even derided—too fluffy, too feminine—those who make them are This story is from Kinfolk Issue Thirty-Four Buy Now Related Stories Arts & Culture Issue 19 Going Incognito We all secretly wonder what mischief we’d make if invisible: When our identity is hidden, everything seems possible. Arts & Culture Issue 19 The Best Policy Sometimes we talk to each other without feeling heard. Honesty—a most intimate interaction—can be just as thrilling as its more devious inverse. Arts & Culture Issue 19 A Sense of Suspense With unhinged imaginations and mountains of cliff-hangers, the filmmakers behind the sci-fi podcast Limetown have all the makings of a scary story. Arts & Culture Issue 19 Like Clockwork In this new column about time, we learn how slipping off our watches makes us feel like deadline-damning renegades. Arts & Culture Music Issue 19 On a Grander Scale Malaysian singer-songwriter Yuna now may live on the opposite side of the globe, but she’s determined to evolve while staying true to her roots. Arts & Culture Issue 19 Neighborhood: Fire Stations The firefighting profession has evolved over time from Ancient Rome’s rudimentary bucket brigades to today’s sleek life-saving departments.