The question for Ukraine—and for the Western art world that enabled it—is how many more decades this particular laundering operation will be allowed to run.
Through his transgressive lens, Philippine cinema becomes a universal mirror, compelling us to confront what it means to exist—and to persist—in the face of the void.
To dismiss Dora’s cinema as merely “sick” or “depraved” is to miss the point, and perhaps to engage in the very moral comfort that his films are designed to destroy.