Using satirical allegory, broad farce, horror and violence, the visionary Korean master has made a string of standout genre films that double as subversive takes on sociopolitical rot, from Memories of Murder to The Host, Snowpiercer to Parasite, frequently making a virtue of tonal whiplash.
—
David Rooney,
The Hollywood Reporter,
15 Feb. 2025
Miller wrote the play as an allegory for McCarthyism, when the U.S. government persecuted people of being communists.
Bathed in a pink-pop glow, its pastiche of romance and horror collide in a viciously mischievous parable of technology and control that speaks to these most anxious times.
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Maureen Lee Lenker,
EW.com,
22 Jan. 2025
From Timothy Snyder’s chilling parables of fascism abroad to Heather Cox Richardson’s portraits of extremism at home, our leading professional historians have played no small part in entrenching this sequence as the fundamental narrative of our time.
In recent years, several of the slender towers on Billionaires’ Row have been afflicted with excessive swaying and creaking, problems that are gleefully treated in the press as morality plays about rising inequality.
—
Eric Lach,
The New Yorker,
3 Feb. 2025
What Nafisi does best, and the reason her work has endured, is precisely to refuse cartoonish portrayals and basic morality plays.
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