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

Performances by artists in 1968 Rome: Cesare Tacchi, Eliseo Mattiacci, Jannis Kounellis, Aldo Mondino and Nanni Cagnone redefine the boundaries of contemporary art by playing with heterogeneous materials, aluminum wheels, fish, kites, paper planes. The group from via Brunetti performs in piazza del Popolo, reviving the city traffic with by now bizarre means of transport, the velocipede and the tractor, on which, with an Indian scalp on his head, Gino De Dominicis whizzes by, immortalized by the camera before the cult of immortality delivered him to the logic of disappearance.
Zombie apocalypses have been metaphors for late-stage predatory capitalism, but never a system disrupter that brings about freedom.
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While this film thinks that it is diagnosing the cause, it is merely diagnosing a symptom instead.
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