"In recent years, I reached a point in life where suddenly it just happened. When I began to worship what had been. And now I have nothing else. I have no future. I can only look back. And it's not even nostalgia, it's fear of death. It has nothing to do with art, I'm just trying to process.."

I think, most cohesively, that The Worst Person in the World works as an allegory for breaking free of the guilt that's…

They line up and extend from the walls, as if integral to its very foundation, like some haunted wall mural. 

You can’t possibly know what it’s like to have everything until you’ve lost it all, and that is America. A country built on colonialism, war, and most of all — ego. The Brutalist is about the triumph of art over all else, it’s the only thing that our own László could ever find himself in, amidst the constant indoctrination of…

Granted I haven’t seen all that much from Spielberg, which I’m trying to undo, but I have never seen him as the type of director capable of making something as stylised as this. It is un-fucking-believable from start to finish. I’d have to say Minority Report is easily my favourite Spelbierg film from visuals alone. 

It’s a timeless reminder that prescience and destiny, no matter how miraculous or ironclad they may seem, are always alterable. And in a meta-textual way,…

It’s been 23 years since Danny Boyle and Alex Garland largely birthed this genre of (post-)apocalyptic films, not only using it in a substantial manner to convey themes of war and information, but simultaneously pushing the digital camera as far as they could. Now, they come back to this world, embarking upon a trilogy of films, and to much doubt, somehow continue to be as innovative as they were all those years ago. I’ll save the analysis for a later…