“The Fog”: Women in Classic Horror
The Fog follows more of a 1950s creature feature plot than a late-70s slasher with three legendary scream queens.

Created in 2007 as a contribution to non-global movements, Tactical Frivolity + Rhythms of Resistance is part of the series Tra i sogni: Saggi sulla nuova immaginazione politica (Among Dreams: Essays on the new political imagination), created by Expósito in the 2000s to portray the expressive forms of social movements against neoliberalism. The video embodies a revolutionary character; it is disobedient and determined to challenge and desacralise all those protest actions that have been considered anarchist, both in the past and present. Through its documentary style, Tactical Frivolity + Rhythms of Resistance captures all those “frivolous” practices, all those micro-actions of social struggle that instill fear in those in positions of power. The work documents the protests of the British group Earth First! against the annual meeting of the International Monetary Fund and the World Bank in Prague, in September 2000.
The Fog follows more of a 1950s creature feature plot than a late-70s slasher with three legendary scream queens.
For anyone who is not a cis white woman, a justice-fueled murderous rampage is not framed as liberation. Instead, they contribute to harsh stereotypes that vilify minority women with dangerous consequences.
My review’s title is a nod to Shakespeare and is entirely deliberate. The original movie portrayed the high-end fashion world as a brutal arena of plotting, backstabbing, and betrayal, and most Shakespeare’s plays depend on these plot devices. The Devil Wears Prada 2 uses the same formula, and is, plot-wise, almost identical. Once again, we plunge into the cutthroat world of Runway, where to get and stay at the top, you must let go of your principles and moral sense. The only thing different is that due to the digital era, Runway is not a print magazine anymore, but one that is running online.
Four more classic horror films that are entertaining even if occasionally absurd.
Everything Everywhere All at Once is exactly as the title describes, yet unexpectedly so. It's like the Matrix, but with OCD and hallucinogens, plus a heart’s dose of mother-daughter intergenerational intercultural growing pains. Review and cast.
'My Policeman' simultaneously delighted and disappointed audiences at TIFF, but everyone can agree that the performances and truth of the story will convince audiences that this film is worth the watch.