By Johanna Isaacson The Covid 19 pandemic has highlighted two baffling contradictions and major impediments to left solidarity. First, we… Read more Don’t Go Spilling His Beans: Pandemic, Social Reproduction, and the Hellscape of Masculine Austerity in The Lighthouse
By Alva Gotby Two families, alike yet from different worlds, are the focus of Bong Joon-ho’s film Parasite (2019). The… Read more Crossing the line: Parasite and the horror of bourgeois domesticity
By Johanna Isaacson Ginger Snaps rights a long-standing wrong in the history of horror film. The werewolf, a deeply embodied… Read more Feminist Flashback: Were-girls Gone Wild in Ginger Snaps (2000)
By Ben Furstenberg and Johanna Isaacson In an election last June, the Social Democratic party in Denmark handily beat the… Read more On Death Cults and Bordered Utopias: Ari Aster’s Midsommar
By Johanna Isaacson | In the age of dying malls and zombie overkill does George Romero’s much discussed Dawn of the… Read more We Don’t Need Another Zombie-Killing Hero: Political Horror in Dawn of the Dead (1978)
“If art reflects life, it does so with special mirrors.” — Bertolt Brecht [1] By Madeline Lane-McKinley | In the… Read more Unseeable Horror in Velvet Buzzsaw
By Rei Terada| i. In Pope.L’s film Reenactor (2012), a continuous loop of almost six hours in its longest version,… Read more Saturated Crime: Pope.L’s Reenactor
By Johanna Isaacson | Tragedy Girls (2017) is a film that follows two best friends who go on a murder… Read more Tragedy Girls: The Work of Art in the Age of the Young Girl Blogger Murder Spree
By Kenan Behzat Sharpe | “History is a nightmare from which I am trying to awake.” – James Joyce, Finnegan’s… Read more Turkey in Flames: Genre Film, Memory, and Politics in Kaygı
By Johanna Isaacson | Towards the end of the film The Fits (2015) we see the protagonist, Toni (Royalty Hightower)… Read more Seized Lives Seizing Lives in The Fits
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