Nicole Veneto
The Sadness is an especially brutal film about societal collapse and how public health crises like COVID-19 amplify whatever savage impulses lie dormant within us.
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If you find David Cronenberg’s cinematic philosophy on bodily abjection/assimilation and the artistic process intellectually stimulating, then you’re in for an intoxicating return to form from the man whose name is synonymous with the body horror genre.
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This Afrofuturist cyberpunk musical is a sprawling political manifesto poetically transcribed into a visual symphony of music and images.
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David Lynch’s Inland Empire is a provocative challenge to filmmaking as a medium of visual storytelling that’s largely gone unmatched in the sixteen years since its initial release.
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I’m happy to report that the local scene has lost none of its eccentricity thanks to a deluge of talented filmmakers and animators with a taste for the offbeat. Stay weird Boston!
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X takes the right lessons from Chainsaw: it is both an adoring homage and a much needed rejuvenation of the slasher genre.
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Recommending The Spine of the Night depends on how much you’d like to see things like head decapitations, eye-gouging, and people being disemboweled in your high-fantasy animated features, in which case Spine is everything you could hope for and a whole lot more.
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Strawberry Mansion‘s biggest asset is that it employs so many different artistic techniques to create a world as wildly inventive as it is heart-achingly sincere.
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The Pink Cloud is a fascinating watch by sheer virtue of its accidental prescience.
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Book Review: “The Poetics of Cruising” — Imaginative Acts of Capture
By exploring the historical and artistic significance of cruising throughout poetry, photography, and visual culture, the book produces a rich and exciting topography of queer culture that posits a reflexive relationship of vicarious cruising between “cruising texts” and their consumers.
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