You Know You’re the Prettiest Girl

The temptation to dismiss multimedia artist Laurel Nakadate as a wallowing narcissist, a sub-Jackass-level prankster, or an emotional terrorist is strong. She appears as all those things in the retrospective of her work at P.S. 1, inviting the audience’s contempt as well as their lascivious stares.

Gay Life Against Marriage

In this way, the gay political project wasn’t just emancipatory or messianic, nor could it be exhausted by a list of demands; from within, it undercut capitalism’s charge that there be no alternative by fucking a different world into being.

Love in the Age of Self-Consciousness

Tradition — “how things are done here” — has been fatally disrupted. We can enter an elevator in any city or an Italian restaurant in any American town and understand what to expect and what to do. And thanks to the universality of money and the pervasive norms of capitalist market exchange, we trust we

School’s Out Forever

The hope is that every student has a teacher or two over a decade and a half that really makes them question and think, but either way, we silently acknowledge that they’ll spend the majority of their young vigor-filled lives quivering at the arbitrary mercy of petty kooks and jowly tyrants.

The Captive Audience

I do not mean to imply that these were the best films (if you want to call them that) of the decade. Jean-Luc Godard, Michael Haneke, the Dardenne brothers, and Bela Tarr all have claims on that title. But some kind of tipping point has been reached.