David Ehrenstein condemns melodramas like Coming Home for perpetuating the illusion that they can affect social change instead of creating real change.
In I Don’t Want To Talk About It which precedes her sudden death in 1995, Maria Luisa Bemberg explores the same themes as in her most famous movie, Camila.
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.