artur.sumarokov

CodePink’s trajectory illustrates the perils of venal activism: how good intentions, filtered through privilege and ideology, can serve evil ends.

Verhoeven’s approach is distinctly satirical, employing hyperbole and irony to expose the absurdities and horrors of militaristic being.

Traditional horror punishes transgression; here, necrophiles are protagonists, their desires centralized rather than vilified.

The Iranian struggle is not just about one nation; it tests whether human rights remain universal or become subordinated to ideology.

Heated Rivalry exemplifies how seemingly benign cultural artifacts can serve grave ideological purposes.

The weaponization of freedom of speech by far-right and far-left extremists represents one of the gravest threats to liberal democracy today.

Gibson’s film illustrates the challenge facing Christian art in a post-Christian age: how to bear witness to transcendent truth in a culture.

Tamakichi Anaru’s films stand as extreme cinema’s vanishing point: beyond them lies only silence or madness.

The Life and Death of a Porno Gang* endures as a masterful evocation of ontological horror.

A Serbian Film* uses its metacinematic framework to dissect pornopolitics as a mechanism of control.

“The Stendhal Syndrome” is a psychological thriller that delves deeply into the fragility of the human mind when confronted with overwhelming beauty and brutality.

In an era obsessed with deconstructing privilege, these movies unapologetically center “ordinary” upper-middle-class woes.