Sublime

Within a five-block radius of my apartment there are four first-run multiplexes and a dozen thirty-to-fifty-seat revival houses with rotating programs devoted to obscure and well-known actors, directors, and genres. These are the mom-and-pop theaters, willing to proceed with the two o’clock showing of The Honeymoon Killers even if I’m the only one

La presse de l’industrie du spectacle l’a porté aux nues non parce que c’était un grand film, mais parce qu’il avait coché toutes les cases de notre obsession du moment concernant la politique identitaire. Le personnage principal était gay, noir, pauvre, martyrisé et victime.

Telling has replaced showing and the audience is made redundant.

Awkward comedy is thus a kind of social horror.