In any case, I mean, I think we live today in a world where institutional power kind of

flaunts its autonomy from democratic opinion. You know, we live in a world where people are

much more disenchanted, rightly from the institutions that govern our societies and govern their

lives. People have a much more cynical and jaundiced view of those things, something which can obviously

be constructive and can also take people off in all kinds of crazy and conspiratorial directions.

You know, it's one of the reasons why we have things like QAnon. But the parallax view gives

voice to a very different kind of ambient political sentiment. It's a film that depicts institutional

power as something much more shadowy,

much more diffuse, something much more secretive, that because there's sort of an embedded trust

in institutions or some residual trust in institutions has to mask its activities in a cloud of

secrecy and can't just flaunt its malevolence out in the open.

Yeah, and it was interesting to watch in this current moment because I don't feel like there

are a lot of movies being made right now that capture that feeling in the air right now.

Now, we got the Pop-Tarts movie.

Yeah, frankly, the fact that there was this whole wave of IP movies, which are sort of, you know,

the System Works movies, which are sort of, you know, the system works movies,

air particularly.

Yeah.

Yeah, Space Jam and New Legacy, the good guy is literally the parent company of the movie.

But to give a really overly simplified history of American cinema over the last 60 years, it's like, it's interesting that there was this wave of movies immediately following,

you know, the Kennedy assassination, Martin Luther King, Bobby Kennedy, Malcolm X, this wave

of assassinations in the late 60s.

...