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Title: Philosophy in Film - A Philosophical Approach to Cinema
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Zombie films rarely stay focused on the dead for very long. The initial outbreak provides urgency, but the survivors soon confront harder questions about power, identity, responsibility, and the limits of human cooperation. The zombies destroy the ordinary social order. What people build (or refuse to build) in its place reveals the film’s actual philosophy.
The gen...
The following essay contains major spoilers for Colony (2026).
Zombies are normally terrifying because they are mindless. In Yeon Sang-ho’s Colony, they are terrifying because they think too well.
After a biological weapon is released inside a Seoul high-rise, the infected begin developing a collective intelligence. Each ...
The Last Showgirl (2024) is not really a story so much as an arrangement of melancholy poses. Pamela Anderson walks through casinos, wanders around the Las Vegas Strip, and stares into the distance while director Gia Coppola waits for sadness to materialize around her. Occasionally, it does. More often, the film simply feels empty.
Anderson plays Shelly Gar...
The first half of The Last House (2026) brought back memories of the COVID lockdown for me. I was hunkered down in an apartment in Buenos Aires with my wife and three toy poodles. The only time I went outside for two months was to go to the pharmacy, and the typically bustling city was a ghost town.
There’s a particular kind of anxiety that comes from bein...
This essay contains major spoilers.
Scott Beck and Bryan Woods’ Heretic (2024) begins as a theological debate before gradually revealing that no honest debate was ever possible. Mr. Reed (Hugh Grant) appears eager to discuss religion with two young Mormon missionaries, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East). He has spent yea...