Nicole Veneto
Why bother giving big-budget Hollywood projects to up-and-coming Black filmmakers if they’re just going to be neutered and cut to shit before release?
Evangelion is my personal Rosetta Stone, allowing me to decipher everything from psychoanalytic theory and gender relations to my very own understanding of trauma and the world in which I inhabit.
As an example of historical revisionism, The Commune proffers a valuable representation of the cultural, political, and class dynamics that animated the Women’s Liberation Movement.
Zola is an exhilaratingly salacious odyssey through the neon-lit strip clubs, dingy motels, and gaudy underbelly of America’s chaos state, like Showgirls as told by Zora Neale Hurston.
You’re never quite sure what you’re watching but you can feel yourself going down the creepypasta rabbit-hole with protagonist Casey nonetheless.
Though it’s classified as a comedy, Shiva Baby utilizes many of the stylistic trademarks found throughout the horror genre to merge painfully humorous discomfort with suffocatingly atmospheric terror.
Violation utilizes extreme violence not to revel in a revenge fantasy but to deconstruct the genre’s militantly feminist appeal — “kill your rapist” — as a self-destructive endeavor offering no catharsis whatsoever.
Come True squanders all of its narrative potential in favor of an awkward and poorly developed romance and a “twist” ending even M. Night Shyamalan would scoff at.
If I’m being too harsh on Trans in Trumpland it’s because we cannot afford to fall back into the liberal complacency of the Obama years.
Film Feature: A Dispatch from Boston’s Last Video Rental Store
“If you really like something and want to make sure you have access to everything, you’ll never do better than having the disc.”
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