Trauma Profiteering in Jordan Peele's 'Nope'
Nope succeeds tremendously in dealing with higher concepts in an engaging and highly entertaining manner without sacrificing theme or personality.

A summer walk through Zurich ends in a police control. Prison ruins are turned into parks, old buildings give way to new ones. On the first of May, rubber bullets are fired. A person goes blind.
Nope succeeds tremendously in dealing with higher concepts in an engaging and highly entertaining manner without sacrificing theme or personality.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
The film is a powerful narrative encompassing a theme that many people can identify with.
Written and directed by Eva Victor, who also plays Agnes, the main character, Sorry, Baby is slow and artsy, but extremely effective. It shows how the trauma developed after a sexual assault has a ripple effect and loudly echoes in the victim and her life for years after.
Films can alleviate alienation by presenting realities where the viewers feelings are shared by onscreen characters. 'The Little Mermaid" film can be interpreted as a transgender story.
As an extremely avid fan of DC’s animation, I’ve become familiar with the way the studio uses Batman as a bit of a Trojan Horse to introduce some of their lesser known characters.