'Zom 100' Critiques Predatory Capitalism
Zombie apocalypses have been metaphors for late-stage predatory capitalism, but never a system disrupter that brings about freedom.

Marc Adrian´s FILMBLOCK 0 paces out the foundations of a ritual of self-realization. With its matte surfaces (colorful leader) and easily visible splices – before the production of a negative, the film fell apart at the taped places with every presentation – Black Movie I stands at the beginning of this development, while Black Movie II with its gleaming, painstakingly made colors and sparklingly clean “cuts” marks the conclusion. Both films by themselves do not tell us anything. They are colors in space and time and nothing more, experiences of different materialities. Together, considering the three films that come between them, they tell the tale of the acquisition of a confidence and strength in craftsmanship, and with this a deeper understanding of the medium – a clarity.
Zombie apocalypses have been metaphors for late-stage predatory capitalism, but never a system disrupter that brings about freedom.
Vicenza, a Brazilian girl, goes on a quest by herself to find out who her birth father is by gathering clues.
Stevan Lee Mraovitch’s film is a beautiful tribute to family, found family, and the lengths people will go to support their loved ones.
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.
SPOILERS AHEAD. Sweet Sweetback's Baadasssss Song distinguished itself from Hollywood films of its time by introducing New Wave cinema storytelling methods into Black cinema.
It’s dark, uncomfortable, and there are things that don’t make sense.