David Ehrenstein condemns melodramas like Coming Home for perpetuating the illusion that they can affect social change instead of creating real change.
This essay will explore the duality of Cronenberg’s works, as a statement on man’s curiosity and an open window to the unknown in Videodrome and eXistenZ.
Wong Kar-Wai is considered influential. In the Mood for Love (2000) was a big commercial success for him. How does it compare to Wong Kar-Wai’s other work?