The Grainy Landscape, Worn-Out Household, and Remembering the Past in 28 Years Later
How do zombie films shine new light in the post-Covid and post-Brexit era?

By worshipping the anus, GODASSES Pt. 2 immerses us in an orifice that is universal to all of humanity (and, with some exceptions like sea sponges or jelly fishes, to most non-human animals as well). As an erogenous center, the assh*le is situated beyond the anatomical limits imposed by sexual difference since it bears no immediate relation to procreational organs: “The anus’s task,” as Paul B. Preciado concludes in his Countersexual Manifesto, “is not directed toward reproduction, nor is it founded on the establishment of a romantic nexus. It generates profits that cannot be accounted for in a heterocentric economy. Through the anus, the traditional sex/gender representation system shits itself.”
How do zombie films shine new light in the post-Covid and post-Brexit era?
It's not love. It's Obsession. The hook of this movie is the tension between wanting to be loved and the fear of being all-encompassed by that love. It plays on men’s typical (though certainly not universal) inner-conflict
'Blonde' commits a relentless assault on the autonomy of Marilyn Monroe, reducing the icon to nothing more than a victim of the director's whims.
Disclosure Day asks us to question humanity's role in the universe but falls victim to the same assumptions of centrality.
"The Platform" is horror and science fiction film doubling as a visual commentary on capitalism and economic inequality. The movie is not for the faint of heart nor the viewer hoping for political neutrality in their film's depth.