Cultural Criticism & Commentary from the NYU Department of English
By Oliver Fosten
Taika Watiki’s new satire, “Jojo Rabbit,” can be summed up with the dialogue between the titular character Jojo, a ten-year-old living in Nazi Germany, and his mother, Rosie. Upon seeing a neat line of bodies hanging for crimes against the Fatherland, Jojo asks his mother, “What did they do?” as he looks away. His mother physically forces his gaze back upon the dead, somberly replying, “What they could.”
By Hannah Ho
You are sitting in a subway car on your way to work. This early, people are either clutching coffees with blank stares or are resting, eyes closed, sinking into themselves for just a little longer before having to face the day. Virtually everyone has headphones. Some absently nod along to music; you hear the muffled beat of the person next to you and, frowning, turn up your own podcast. Once above ground, you are greeted by the street’s cacophony of honks and sirens, brakes, and rumbling bus engines. A passing cyclist blasts rap from a speaker strapped to his backpack. You increase the volume another notch. Work: phones ringing, clattering keyboards, the ding of a microwave. On your way home, more sirens. The clamor of happy hour more fervent by the minute. You fall asleep to Netflix or maybe a guided meditation, depending on your mood.
By Sonali Mathur
“The Joker” is the most beautiful thing you’ll see this year. Not because of the depth of Joaquin Phoenix’s take on the supervillain or because of its nuanced portrayal of someone with mental illness, but because every one of Todd Phillips’s shots is so aesthetically pleasing, even the ones where Phoenix is kicking a trash can, being kicked himself, or shooting innocent people. Every shot is exquisite, in shades of red, green, brown, yellow, and black, so stylish I want to hang up stills from the film in my room.