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  • The Devil's Rain

    The Devil's Rain

    Featured by Dana Reinoos (aka dana danger)

    "The Devil’s Rain is the exemplar of a certain kind of 1970s American horror movie: slow, weird, 'plotless,' and depressing. It’s the kind of movie that made Roger Ebert say, “The problem is that the material's stretched too thin… No doubt that's why we get so many barren landscapes filled with lonely music and ennui.” But what could more accurately depict the hollowed-out core of the post-Nixon American soul than nothingness, ennui, and a deal with the devil?"

    Read the full write-up on Screen Slate

  • Chris and Bernie

    Chris and Bernie

    Featured by Nia Tucker

    "While watching, it’s difficult as a queer person, namely a lesbian, to not note how these women inadvertently fulfill lesbian fantasies of domesticity and a household that does not rely on a stark male presence or intrusion. Both young and in their 20s, they explain how their children were the result of relationships with men that didn't work out, and rather than struggle independently, they’ve found each other."

    Read the full write-up on Screen Slate

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  • Wax, or The Discovery of Television Among the Bees

    Wax, or The Discovery of Television Among the Bees

    Featured by Sean Benjamin

    "Terms like 'unclassifiable' are used regularly in description of works at the outer limits of genre, but rarely are they as justified as in the case of David Blair’s 1991 video Wax, or the Discovery of Television Among the Bees, a cyberpunk prototype from the chrome heart of the Digital Age. Developed over a decade through technical exploration and chance operations in the New York Public Library, Blair laid an extrapolation of La Jetée atop a bedrock of Thomas Pynchon and came out with something closest to early Peter Greenaway — yet ultimately singular."

    Read the full write-up on Screen Slate

  • Queen of the Damned

    Queen of the Damned

    Featured by Ayanna Dozier

    "Queen of the Damned is by no means a good movie. ... However, the narrative and formal aesthetics of the Cliché-ridden film are momentarily suspended in 'Akasha’s Carnage.' This sequential disruption features Akasha, the mother of all vampires, newly awakened from her slumber by the power of the vampire Lestat’s rock music (Stuart Townsend performing music by Korn). Akasha seeks Lestat in a vampire goth club. When she enters this space she, despite these vampires being…