Master: The Horror of Deceptive Racial Politics in Academia
“It's not ghosts. It's not supernatural. It's... It's America. And it's everywhere.”

Pedro earns a living in chat rooms. He transforms himself into NeonBoy in front of the webcam. Slowly, this young man dips his fingers into pots of coloured paint and glides them across his naked body. But things change when Pedro notices that somebody is imitating his performances. He agrees to go on a date with his mysterious rival. This rendezvous will have far-reaching consequences.
“It's not ghosts. It's not supernatural. It's... It's America. And it's everywhere.”
'Zero Refills' highlights the despicable treatment of the less fortunate by healthcare providers and big pharmaceuticals.
Disney's live-action remake is vibrant and beautiful, with updated music and classic enthusiasm, but it fails to push the envelope and provide nuance for Ursula.
Perhaps the most amazing and groundbreaking quality about The Birdcage is how removed it is from both illness and insensitivity. Whereas films preceding it were often somber stories about the tribulations of being gay in a conservatively straight world, Nichols and screenwriter Elaine May expose the fallacies of conservatism as traditional values are thrown into a more open-minded space. They don’t care how far the community has fallen so much as how high they can rebuild themselves.
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.
Many have interpreted Maya Deren’s Meshes of the Afternoon as a dream sequence, but what if the repetitive scenes we are given are not dreams but, a time loop.