Category: Cinema
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Yorgos Lanthimos’s The Killing of a Sacred Deer (2017) is a film that resists passive consumption. It is not merely watched; it is endured, decoded, and—perhaps most unsettlingly—internalized. Operating within the director’s now-recognizable grammar of emotional austerity and ritualized behavior, the film constructs a world in which morality is neither negotiated nor felt, but enforced…
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Poor Things Explained: If you watched Poor Things expecting a traditional narrative arc, you misunderstood the assignment from the opening frame. This is not a film built on comfort, clarity, or convention. This is a film engineered through controlled chaos, psychological evolution, and decision-making under unfamiliar conditions. In other words—this is Film IQ at its…
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Ritual, Alienation, and the Geometry of the Absurd The cinematic language of Yorgos Lanthimos is complicated to engage. Few contemporary filmmakers possess a cinematic language as immediately recognizable as Yorgos Lanthimos. Across films such as Dogtooth (2009), The Lobster (2015), The Killing of a Sacred Deer (2017), and The Favourite (2018), Lanthimos has constructed a…
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Cinematic language and visual storytelling are often spoken about as though they were simply the ability to produce striking images. Beautiful frames, dramatic lighting, or cinematic camera movement are frequently treated as the defining ingredients of cinematic language and visual storytelling. But these elements alone do not create narrative. They create atmosphere. True visual storytelling…
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(A Manifesto for Why Video Art Is Non-Negotiable) Let’s be clear from the start—this is not an academic defense of video art.This is a line in the sand. If contemporary art is serious about now—about perception, attention, grief, technology, memory, power, and time—then video art is not optional. It is not an add-on. It is…