The only way to look at Chernobyl is through a rear-view mirror, the complex ocular shield of the camera. Otherwise, we’d be staring at Medusa’s face, unprotected. An open nuclear reactor core burning our synapses through sheer magnitude of existential incomprehension. An apocalyptic serialised memento mori.
Leonardo DiCaprio opens his new climate change doc offering a view of the last 250 years of humankind as the longest science experiment in history. An apt take on the magnitude of human impact on the entirety of our planet – and the unhinged way we’ve been unleashing ourselves on our environment.
Camille emerged fully formed, a she-shaman forged in the era of the return of the witch, expanding the liminal space between traumatic events, taking the silver bullet of all audience assumptions and projections in a tale of female rage – of women hurting other women – all those dark vagina dentata materials blooming a venemous crimson red in the patriarchal dollhouse.