With Assault on Precinct 13, John Carpenter not only made a cult film, but also established the elements that would later become trademarks of his style. The film’s budgetary limitations became strengths: a small cast, confined spaces, tension that drives the narrative, and a score, composed by Carpenter himself, that functions as a leitmotif for the film’s visual language.
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In 2019, Lebanon’s financial crisis reached its breaking point. Protests across the country intensified, banks closed their doors, and soon began imposing restrictions on depositors’ withdrawals and transfers. Three years later, the collapse was total: money was frozen in bank accounts, people could no longer access their savings, and many citizens took desperate measures to get their money back. It is precisely in that bleak year of 2022 that Furies, directed by Rami Kodeih, is a work of fiction that comes painfully close to reality.
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In his book The Anatomy of Genres, John Truby reflects on horror as a genre that gives narrative expression to one of humanity’s most primal fears: death. Truby takes this idea to a more existential level, defining it as the awareness that we are going to die. The crossroads between life and death is where horror finds its deepest roots, and Zach Cregger understands this perfectly. Following the worldwide fascination generated by Weapons, the director returns with a new horror offering, Resident Evil.
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In his feature-film debut, director Joaquín Ruano explores the complexities of social prejudice and the way it permeates even the simplest aspects of everyday life. Nosotros speaks of the loneliness of migration, corrosive masculinity, and intolerance. The journey from the countryside to the city, one of humanity’s oldest and most inherent journeys, becomes the canvas upon which Ruano constructs his story. Migration is a physical journey, but it also becomes an emotional odyssey.
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Pip: The Last Movie Guy — where the movies are old, the obsessions are timeless, and someone is always lurking outside a window.
Mara: Hugo Pagan Soto has been writing this week about desire and destruction — from psychological crime and voyeurism to the doomed world of postwar Japanese gangster drama. Let’s start with the films where obsession does the real damage.
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