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  • Parasite

    Parasite

    ★★★½

    Aristotle wrote that metaphors by analogy are most well-liked, and it’s not hard to see why through the case of Parasite. It’s a digestibly biting piece of class commentary in classic Bong Joon-Ho fashion. The film follows the broke and unemployed Kim family as they infest their way into working for the affluent Park family. The delectable pleasure of a scam turns sour once a seedier class below the Kim's (literally) is revealed and gnaws through their ruse.

    Which demands…

  • Liberté

    Liberté

    ★★★½

    For all its perversion and debauchery, Liberté brims most with impotence and hesitancy. In the Q&A Serra kept talking about the fiction of it all, which sounded more like a slurred "friction". The friction of figures gleaming into appearance as they inch out into the moonlight, a night of cruising that is planned without inhibition yet never quite delivers the degree of sadism the characters hope for. A sly glance that is rejected by the receiver's eyes averted, because rebuttal is withholding tension and power can be that easily transplanted.

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  • Revenge

    Revenge

    ★★★½

    A revenge film that really delivers. 

    Mad Max meets Kill Bill plus drugs.

    So much gore that someone literally had a seizure during the screening.


    To think about: camp, male gaze, directorial authority over women's empowerment (Death Proof male directed female revenge flic and Revenge female directed female revenge flic, is it subversive because it's female?), a weak character just trying to survive what life throws at her and manages to come out strong

  • Whiplash

    Whiplash

    ★★★★½

    It's as if Gordon Ramsay became a musician.