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Author: Oluwatayo Adewole

Run It Back
A still from Top of the Heap shows a man standing in front of an American flag stitched with a small jolly roger on the front.

1972

By Oluwatayo Adewole • August 30th, 2024

“Filth is my politics” isn’t just a catchy slogan. It’s a recognition that there is no version of us that will be accepted by a moralist fascist society.

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Cute

By Oluwatayo Adewole • July 2nd, 2024

Kawaii is consumed by the West as beauty without threat, whereas the very designation of Blackness is full of threat. What does it mean for a Black woman to try and be “cute?”

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A black-and-white close-up photograph of author Truman Capote as a young man.

1966

By Oluwatayo Adewole • May 28th, 2024

Much like Isherwood, Capote’s writing relies on a gay fly-on-the-wall positioning.

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A still from Uncle Boonmee Who Can Recall His Past Lives shows several red-eyed gorillas sitting in a misty forest, staring straight at the viewer.

2011

By Oluwatayo Adewole • April 26th, 2024

Tayo heads back to 2011, taking a look at two films which show us how the world beyond etches itself onto our reality.

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A shot from Wong Kar-wai's Fallen Angels shows a man leaning forward with a cigarette hanging from his mouth while a woman leans tenderly against his back.

1995

By Oluwatayo Adewole • February 28th, 2024

In both Fallen Angels and The Doom Generation we follow dreamers.

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A still from Saltburn shows the partially robed main character from behind, gazing outward across the lawn of a large estate scattered with the remnants of a wild party.

Sex and Cinema

By Oluwatayo Adewole • January 30th, 2024

At the same time as a quasi-accepting era which brings us more art focused on marginalized people, a soft Hayes Code re-emerges, allowing for the clean lines of queerness but not the smudges.

Run It Back
Artwork from the poster for Apocalypse Now Final Cut shows Captain Benjamin Willard rising from the depths of a river, lit by contrasting blue and red light.

1979 2019

By Oluwatayo Adewole • December 1st, 2023

This month we turn our attention to Coppola’s 1979 epic Apocalypse Now, and more specifically to its 2019 Final Cut.

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