“I’m shrinking,” I shrieked,
meaning aging,
nearing death
because I thought that to pretend
I was the witch
In The Wizard of Oz
was funny
and would thus communicate
something
if not exactly my feelings.
*
Cousin Rust,
with your look of blood
and sunset,
I’m almost in love
with the lace you’ve made
of metal
Bong Joon-ho’s sci-fi blockbuster is both the director’s simplest and most unwieldy feature yet.
Kristin Ross’s The Commune Form traces a political tradition—based on reimagining class relations—that stretches from the 1871 uprising to the modern-day struggles of ZAD.
A conversation with Brian Goldstone about There Is No Place for Us, a damning account of a city's failure to address homelessness and how it is a microcosm of the rest of the US.
Why did Hollywood lose interest in making paranoid thrillers like The Parallax View and Three Days of the Condor? Was it a change in the culture? Or a change in the marketplace?
Sophie Lewis grapples with the ways the feminist movement has harbored prejudices and abetted wrongdoing in Enemy Feminisims.
