John Semley

Parasite, which won the Palme d’Or at Cannes (in a reportedly unanimous decision) and was (less unanimously) a finalist for the People’s Choice Award at the Toronto International Film Festival, begins in a dead-end. The film opens in a dingy sub-basement at the ass-end of a ...

Joker and the vacuity of influence

The pathos of Tarantino’s historical interventions.

High Life embraces the beauty, terror, and shit of material existence.

Roughly half a century after it first emerged, folk horror is back.

Debate—and especially the challenge to debate—exists as an end in itself. Debate has become a conservative fetish object.