Bloody Wednesday stands as a curious artifact of 1980s exploitation cinema, a film that leverages the San Ysidro massacre for cheap thrills while stumbling into a narrative of unexpected complexity
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Dariuss masterfully entwines ontology’s thrown being with hauntology’s spectral calls, rendering grief a machinery where existence is ghostly prosthesis.
In Six’s trilogy, horror serves as a tool for deconstructing the humanistic subject: the human, ostensibly the crown of creation, is transformed into a chain.