Brianna Di Monda
Sarah Rose Etter’s Ripe
By Brianna Di MondaSurrealist writers push the boundaries of language and plot, taking an oblique approach to the quotidian in order to hint at higher potentials for reality. It’s within this realm that Sarah Rose Etter plays, employing surrealism to unveil deeper revelations and risks in her writing.
Pablo Larraín’s Spencer
By Brianna Di MondaA close look at the two women’s lives reveals similar dramatic encounters with the press negotiated on strikingly different terms. Neither identified with the public roles thrust upon them, and each struggled for control in opposing spheres of their lives. A single contract unmoored both of their lives.
Andrew Dominik’s Blonde
By Brianna Di MondaAs it is, Andrew Dominik’s Blonde (2022) is the twenty-second movie about Monroe, and when you look past its eye-rolling shock factor, its high-profile actors, and its attempts at arthouse, it remains the same tired story we’ve always gotten. But this time, Andrew Dominik, Joyce Carol Oates, and even Ana de Armas have the audacity to tell us that what they’ve done to Monroe is a feminist act.
