Speed Run

I have never played Resident Evil. I'm not a video game person at all. I have enough time-consuming hobbies, thank you very much. I have seen most of the Resident Evil film series, though. I think the only one I've missed is Racoon City. I can't say the series is a favorite. It's the kind of thing I put on my tablet when I'm folding laundry. So color me surprised to find myself greatly enjoying the new (in 2026) Resident Evil movie from horror golden boy Zach Creggar, who turns out to have another gear for which I wouldn't have credited him. His first two movies are precocious, full of narrative tricks like multiple points of view, chapter stops, and chronological shenanigans that place them firmly in the art horror canon. This one is shorn of all of that. It's streamlined. Built for speed, even. I like that.

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The Passion of Zoë Tamerlis Lund

I did some writing a some years ago for a webzine called Film and Fishnets which appears to be defunct. Navigating to the url of my articles returns a "website expired" message, so that's that, I guess. I keep everything I write, though, so I'm going to be recreating those pieces here by and by. These are some of my favorite pieces among my own writing and I'm happy to share them on my own site. I hope everyone else who wrote or created art for the venue has kept their work, too. It was an interesting experiment.

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About fifteen minutes in to Bad Lieutenant, the 1992 film Zoë Tamerlis Lund wrote for Abel Ferrara, there’s a cut between a scene in which her character is smoking heroin with Harvey Keitel’s title character and the scene that is the motivating catalyst of the film’s plot. It’s an abrupt jump cut as the scene changes to a shot that finds a statue of the Virgin being toppled as a nun is being raped. Having just watched Lund and Ferrara’s first film together, Ms. 45, in which Lund’s rape-victim/vigilante goes on a rampage at a Halloween party while dressed as a nun, this juxtaposition jumped off the screen as something more than just narrative, as something metacinematic and significant. In context it encapsulates Zoë Lund’s cinematic anima in a single cut.

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