Veronica writes an ode to Alexander Payne’s Election – a perfect microcosm of the US, our inherent mistrust of ambitious women, and the gross reality of being a human.

Matthew Rankin’s The Twentieth Century is like if Guy Madden and Ken Russell discovered a portal to the 1920s while playing playing laser tag against Monty Python’s animations. You know, your run of the mill biopic on a moderate Canadian politician.

The Cinema of Ettore Scola is an essential addition for the shelves of those who have wondered what contextual nuances they might have been missing out on, or anyone who has wanted to dip their toes into the wonderful world of Italian political satire.

Onur Tukel’s The Misogynists tickles an intellectually vouyeristic itch by peering into the minds of people who were actually happy after the 2016 election. There is something cathartic about the film’s fly-on-the-wall approach to analyzing people through their political convictions–though the darts Tukel throws at the left hit much closer to home.

Jim Jarmusch seems downright mad about our collective complacency and emotional compartmentalization towards the world. He’s hoping that if he dresses it up real nice in a fun, mainstream package, maybe you’ll get mad too.

We tend to think of Fascism as everyone “agreeing” to the same ideals, but those boundaries are rarely ever publicly decided. Instead of a commentary on what fascism does, Salo presents what it allows for.

Based on a manga? Check. Strong, silent protagonist? Check. Prisons? Check. Rage against The Man? Check. Riki-Oh: The Story of Ricky and the Female Prisoner Scorpion movies complement each other perfectly as showcases of Japanese and Hong Kong cinema at the zenith of their age.