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?
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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.
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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.
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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.
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You’re never quite sure what you’re watching but you can feel yourself going down the creepypasta rabbit-hole with protagonist Casey nonetheless.
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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.
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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.
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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.
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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.
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Jumbo is one of the most magically affecting and visually enthralling romances I’ve seen in quite some time
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