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This essay argues that Jordan Peele's Nope (2022) offers metaphor and fabulation as a critique of extractive capitalism and its detrimental consequences on sentient life. Peele visualizes the outcomes of capitalist extraction and accumulation as exemplified in racialized labor exploitation and anthropogenic catastrophe. I examine how the film mobilizes fabulation to explore cinema's erasure of Blackness from its history as an example of racial extraction. My analysis of extraction extends to the shapeshifting sentient 'alien,' nicknamed Jean Jacket, who I contend embodies extractive capitalism via its consumption and expulsion of carbon-based life and indigestible objects. I maintain that Peele uses the trope of the alien-monster as a metaphor to comment on the threat of ecological collapse. I then proceed to study how Nope makes a pointed critique of human misuse of media technologies due to an insatiable avarice for notoriety. Finally, I conclude with a reading of how extractive capitalism forecloses the possibility for humans to establish multispecies empathy and cohabitation. KEYWORDS Anthropocene, extraction, fabulation, race, multispecies, INTRODUCTION The proliferation of image technologies, and access to media distribution platforms, pave the way for humans to document the world through their subjective positionality. This visual documentation includes archiving [...]

Maxime Jean-Baptiste's video work Nou Voix (Our Voices, 2018) opens with a courtroom scene from the 1990 feature filmJean Galmot, aventurier, directed by Alain Maline. The original film by Maline [...]

Francois Ozon's film, 'Time to Leave' is about mourning, response to trauma and mechanisms of commemoration with its focus almost exclusively on a character mourning for himself and preparing for his own death. The film's meditation on a dying gay photographer's last days, discussing how it seems to blur the distinctions between dream and reality, is explored.

Film director Jacques Demy's films like Donkey Skin, Lola and The Umbrellas of Cherbourg are restored and re-released. Donkey Skin is an adaptation of a fairy tale, which seems offbeat, but delights audiences in search of a unique and surprising viewing experience.

A study was made to examine Tatsumi Kumashrio's films, the distinctiveness of his approach he aimed to make films whose interest ranged beyond sexual arousal, his work which shed new light on the debate over screen pornography. He was a leading maker of Japanese soft-core porn films in 1970s and 1980s.

Some of the film works of Jane Campion and Henry James are discussed. The reviews of critics are highlighted.

The life and work of Italian filmmaker and author Pier Paolo Pasolini is examined in two films and two books. The films concentrate on his controversial sex life and mysterious death and the two books criticize his body of work. Pasolini's cultural impact will be realized only when his work breaks the bonds of academic thought.

Stephen and Timothy Quay are ingenious animated filmmakers who use puppetry to create a surreal world of visual poetry. Their form and technique revive the adult animation tradition of Eastern Europe while maintaining their own unique signature.

Ophuls' 1990 essay film 'November Days: Voices and Paths' commemorates the first anniversary of the fall of the Berlin Wall. A whimsical work, it intersperses news footage with Ophuls' own comments and follow-up interviews.

City life has been a constant theme in filmmaking since the 1920's. The works of Rudy Burckhardt, Spike Lee, and others are analyzed for their portrayals of New York City, both visual and sociological.

The works of Japanese director Toyoda are hard to categorize. He frequently throws in something totally unexpected and he uses long and medium shots to distance the viewer from his protagonists. When a viewer expects the unexpected, he will do the expected. One strong theme in his works is nonconformity.

One must view Kieslowski's trilogy 'Three Colours' as a whole to understand it. 'Blue' shows a woman starting over after the death of her husband. 'White' is about a man who feels trapped and impotent. 'Red' is about people who find completion. The colours also symbolize the colors of the French flag and their meanings.

Critics rejected Viscounti's 'Death in Venice' as a decadent political tome, which did not measure up to his previous films. However, these critics misunderstood the film, which actually not decrying the decadence of political leaders, but rather an autobiographical view of his own life.

Director Gregg Araki makes films that explore homosexual themes and are viewed as subversive attemptsto present the realities of the lifestyle. Araki's 1995 film,' The Doom Generation,' was the first that did not address homosexual themes or lifestyle.

Woo's films feature men who can inflict physical violence and yet not be afraid to show their emotions. Woo shows a bond of friendship and loyalty between his protagonists which is very strong. His gangster films 'A Better Tomorrow' and 'A Better Tomorrow 2' are used to demonstrate his portrayal of men.

Egoyan's films often focus on people who are looking for something. Films like 'Next of Kin' and 'The Adjuster' feature characters search for their identity. Egoyan's frequently feature 3 plot lines that interweave, as in 'Speaking Parts' and 'Exotica.'

Jerry Lewis uses his characters' lack of coordination and speech mannerisms to take the traditional vaudeville character of the idiot over the top. He also takes familar gags and twists them in a way that sends up the gag. Lewis' films and public personae are analyzed.

Holly Fisher's first full-length film, 'Bullets for Breakfast,' contrasts the masculine imagery of the western film with images of women. Voices and images are overlapped and the soundtrack is purposely out of synch with the images.

Griffith was the first director to make films that focused on the interests of women. The stars of these early films played 'fallen women,' wives and daughters. Previously most films concentrated on the adventures of men.

Charlie Chaplin's own life had a major influence on his movies. His childhood abandonment by his father and a life of drifting between poorhouses and homes of relatives with his mother may have influenced the isolated, solitary nature of his characters. His personal life at the time of his films also influenced them.

The Films of Lynne Ramsay Absorbed in the private world of an invented child's game and sulking about attending a Christmas party, the older brother in Lynne Ramsay's film Gasman [...]

The ways in which found footage film approaches the archive is discussed by Catherine Russell as a film practice in which both 'retrieval and recycling' are foregrounded. [1] Here, there [...]