"Tarkovsky is my hero, and the hero of Russian cinema—a man who found a way to make transcendent, transgressive films that went beyond his political circumstances and captured something far more primordial and enigmatic about the world itself. For this and many other reasons, he’s considered to be one of the great directors in cinema history, which is no small feat for a Soviet artist. If you’re a newcomer to his films, start with Ivan’s Childhood and go from there."

"Many slashers have been made since with diminishing returns, and I think a lot of this film’s power, to me, relies on its honest channeling of the political and cultural violence endemic in the U.S. at the time. On an aesthetic level, the opening credits’ invocations of black-and-red sun flares are such a thrilling cosmic omen for the violence to follow, and the final shots of Leatherface spinning in circles before a setting sun are, to me, sublime."

"In Worse than War, Goldhagen lays out the elements; in order for genocide to take place, certain key components must be present: a leader with a political agenda who is able to use people’s existing fears, grievances, convictions or prejudices to convince them that another group poses a threat to their own security and well-being. Details are organised and put into action. Ordinary people choose to participate. Those with the power to halt the killing choose to do nothing."