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.”

Twenty-one dancers are held by your gaze. Losing contact can be traumatic. Twenty-one dancers play a game of cat and mouse with an unpredictable camera. Disoriented, the viewer is fixed by the gaze of dancers who crowd the frame. …On the one hand this is like looking at a group of aliens who have never seen anything like the camera (or you) before. The concentration of the faces on what is before them takes away their self-consciousness, and like a series of Thomas Ruff portraits they have an unsettling air of insouciance. But ultimately, the thought one is drawn to, and the allegory the title suggests, concern the contemporary obsession with becoming visible through some sort of brush with celebrity, however brief, demeaning or meaningless that might be.
“It's not ghosts. It's not supernatural. It's... It's America. And it's everywhere.”
Despite its simple premise, “imagine being a woman,” the horror behind "Men" feels fueled by a hollow understanding of the insidiousness of misogyny.
Love, Simon (2018) based on the book “Simon vs The Homo Sapiens Agenda” (by Becky Albertalli) is a teen LGBTQ+ rom-com with themes of longing to find others with similar struggles, and ultimately is a story of acceptance of identity from those around you, and most importantly, from yourself.
Of the 28 total films I watched, just six of them were queer or featured queer characters in some way.
‘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.