Comparing both films brings to light thought-provoking conclusions about the varying levels of oppression, and the varying degrees of love.
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The films oscillate between the dual poles of Love and Death: they aren’t perfect films — if we only observe them through this limited scope.
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Whether or not it was conceived with disdain for feminism, Death Proof illustrates the downfall of a powerful asshole who didn’t see it coming.
Read More![Genre-fying Mental Illness [II]: the Disenfranchised, Disillusioned Lone Wolf](https://images.squarespace-cdn.com/content/v1/5a52d2220abd04ec985c1ecb/1529037421624-ZSFY7X3VU9Q27AY4RJZC/7922212150_ac3e2b1cc0_bs.jpg)
Pop culture is drawn to the seething, simmering man on the edge, whose underlying violence could turn outward, at any given moment.
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Rogue One operates on the logic that there are no winners, just casualties and unfair twists of fate: it is a true war film.
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How come, despite the fact that they are supposed to be the focal point of his criticism, the men of Wes Anderson’s movies are somehow more sympathetic than the women who surround them?
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This comparison is harder, however, much more interesting, when done between the Disney animations and their literary sources: the time frame is much larger, the mediums and the cultures they originate from are different.
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