The Blues, and Two Contradictory Films That Claim It
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.

The Stammheim trial against the leadership of the first generation of the RAF was one of the most elaborate in the Federal Republic of Germany. Through this trial, Stammheim also became a place of identity for the RAF. The docudrama uses the perspective of Horst Bubeck, who as a prison officer in the cell wing had the most intensive contact with the prisoners, to shed new light on the history.
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.
Director Martin Scorsese broadens his boundaries from mafia-driven movies, to a Buddhist biopic of the 14th Dalai Lama. While Buddhism strives for peace, ‘Kundun’ reveals the violence inflicted on Tibetan Buddhists and Scorsese’s depiction of violence does not stray away.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
The film seems like an extreme interpretation of the conspiracy theorists that exist in real life. And then, there’s the twist.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.