artur.sumarokov

The Life and Death of a Porno Gang* endures as a masterful evocation of ontological horror.

A Serbian Film* uses its metacinematic framework to dissect pornopolitics as a mechanism of control.

“The Stendhal Syndrome” is a psychological thriller that delves deeply into the fragility of the human mind when confronted with overwhelming beauty and brutality.

In an era obsessed with deconstructing privilege, these movies unapologetically center “ordinary” upper-middle-class woes.

“Only You” is a valentine to serendipity, positing love not as a checklist but a cosmic crapshoot.

“Lonely Hearts” stands as a testament to cinema’s power to resurrect the damned.

“Bad Hair” is the cinematic equivalent of a botched box braids install—painful in patches, pretty in others, but undeniably you.

The Black Dahlia isn’t a film you respect; it’s one you surrender to, like a bad acid trip that ends in epiphany.

In Six’s trilogy, horror serves as a tool for deconstructing the humanistic subject: the human, ostensibly the crown of creation, is transformed into a chain.

Jacker 3 insists on the transgressive imperative—to stare into the abyss, not with fear, but feral joy.

Very impressive remake of classic gore horror from 60s

Dariuss masterfully entwines ontology’s thrown being with hauntology’s spectral calls, rendering grief a machinery where existence is ghostly prosthesis

In the end, *Snuff 102* isn’t for shelves; it’s for reckoning. It posits that true horror isn’t the gore—it’s the mirror.