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Michelangelo Freyrie

July 21, 2020

‘Space Force’ Review: Laughing Ourselves Into an Arms Race

'Space Force' tries to do justice to the complex connections guiding everyday life in the policy pit.…

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April 30, 2020

Alt-History in Film: Nightmares We Can’t Afford

Alt-history is powerful when it doesn’t simply represent a macabre mirror to current circumstance, but rather, when it indulges in the rough and rotten underbelly of its own utopian vision.…

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February 5, 2020

‘Joker’ and ‘Parasite’: Spill the Blood

Where Joker highlights how "the people's" interests are essentially opposed to those of "the elite," Parasite insists on the hopeless entanglement between "us and them."…

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October 10, 2019

The Remarkable Absence of Emptiness in Todd Phillips’ ‘Joker’

If Joker is meant to represent the corrupting power of self-immolation, of a nihilistic obsession for spectacle, of forging a toxic personal myth in a world where nothing matters, then there's a remarkable absence of emptiness.…

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October 9, 2019

‘Legion’: A Superhero Series that Rejects the Basic Tenets of the Genre

Unlike the redemptory finale of Endgame, Legion offers no way out. What it does, however, is to suggest that the only hope we have is to firmly believe that change — or at least the possibility of change — exists.…

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June 12, 2019

David Lynch Across the Sea

David Lynch's detachment is what makes his movies so relatable in Europe. But is this a good thing?…

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March 31, 2019

The Dark Prophecies of ‘The Congress’

With "The Congress", Ari Folman transformed a 1970s sci-fi classic into commentary on modern Hollywood. How did he do it?…

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February 18, 2019

‘Roma’ and ‘The Favourite’: The Impact Citizens can have on Political Life

In times of uncertainty, it's normal to seek models in cinema. In this sense, Roma (A. Cuarón) and The Favourite (A. Lanthimos) have the great merit of posing the right question: what impact can citizens have on political life?…

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