The Capacity For Adequate Anger constitutes an attempt at a personal and self-reflexive form of artistic critique that considers contemporary art, in its production as well as its presentation, from a perspective of class. Alongside questions around the intersections of negative affect and political agency, the work problematises notions around upward mobility that the field of contemporary art both produces and presupposes. Deploying an essayistic approach, the video work reflects upon the manifold meanings of distance in both its subjective and social senses.
So with the recent (rightful) public apologies to Britney from comedians and media for trashing her image in the 2000s, perhaps some people should also give Crossroads the fair chance it deserves. It won't be everyone's cup of tea, and that is fine. Personally, I will take my girl Britney and her movie, over the next testosterone "Dude Flick" any day.
A young girl named Hailey Mays sings a country song that is named after the film's title.
Hours before their line-up of screenings for Trans Awareness Week began, the filmmakers of 'When Men Were Men' chatted with me about the film's personal exploration of masculinity.
'Bodies Bodies Bodies', the latest from indie powerhouse studio A24, is a great time. Full of dark comedy laughs, great performances, and genuine scares, it's a perfect addition to modern slasher classics.
Not only does the system prevent upward mobility, but it makes it incredibly easy to slide from comfortably middle class to unhoused.
Baggage’s experimental mixed formats visualized a woman’s brave inner journey of visiting the museum of her fragmented memories.
