Forbidden

The early film, Forbidden (1932), asks the viewers to sympathize with a married politician and his mistress, who together have a “love child,” even though the politician, as a governor, finally follows his conscience and admits to the decades-long affair. Lulu, the mistress, selflessly remains alone and hidden from public view so Bob can climb the political ladder without scandal. At one point, Bob offers to leave his wife, Helen, and leave with Lulu for a shared life somewhere else, but Lulu refuses for the sake of Bob’s career in politics. She places his interests above her own. The film’s attitude toward the “cheater” and his mistress ethically is complex, as is human nature itself. The film presents the complexity that can go with some, but certainly not all, ethical controversies.

The full essay is at "Forbidden."

Enemy

Villeneuve’s film, Enemy (2013), is ostensibly about two men who look alike (they are played by the same actor). Jake Gyllenhaal plays both Adam and Anthony. That both characters have the same frontal scar in the same bodily location signals that the identity goes beyond the possibility that they are identical twins. The identity topic in philosophy of mind is thus salient in the film, and this has invited several commentators to delve deeply into psychological analysis to suggest that Adam is a figment of Anthony’s subconscious, or vice versa. The film does not make clear what exactly is real and what may be a character’s mental construction. Suffice it to say that the film is very difficult to comprehend. Even when Anthony’s wife appears to Adam/Anthony as a giant spider at the very end of the film, it is only conjecture to assume that the spider represents the heaviness of constraint in being in a relationship of commitment rather than anything goes—the latter being inconsistent with a real relationship. The film presents the viewers with intimations of philosophy of mind and more directly of relationship ethics; these two domains play off each other.

The full essay is at "Enemy." 

San Francisco’s Frameline Film Festival: On the Negative Impact of the Castro’s Culture

Ideological intolerance may not be typically thought of as stemming from a psychological pathology from unresolved emotional problems, especially if the ideology is classified under “political speech.” Even so, the vehemence with which flashes of hostility are unleashed by an intolerant ideologue against people objecting to the person’s ideology and thus to it being imposed as if it were God’s eternal truth is plainly psychological. Volunteering at a film festival in San Francisco in late June, 2026, I was the receiver, or lightening rod, of such vitriol from two attendees and the festival’s manager who oversaw the volunteers because I had unwittingly made statements that violated the dominant ideology not only at the festival, but in San Francisco moreover. In business schools, it is well known (or should be well known) that an organizational culture can reflect a wider culture in the organization’s environment. A toxic local or societal norm, which reflects values, beliefs, and even assumptions held by a sufficient proportion of inhabitants to gain a “critical mass,” can infect organizational cultures within the locality or society. I contend that this dynamic applied to the Frameline (LGBT) film festival in 2026 and the wider the Castro (gay) district of San Francisco then, where the festival was based. The same overreaching ideology and hostile defense mechanism were salient both in the non-profit organization and, extending beyond the Castro neighborhood, in San Francisco itself as well as in at least some of the suburbs.

The full essay is at "San Francisco's Frameline Film Festival."

 

Nietzsche on Promise-Keeping: Sex and Relationships

Friedrich Nietzsche wrote on promise-keeping in Genealogy of Morals as being a result of a refined, and thus cultivated “breeding” of our species, rather than as an innate part of human nature that can be taken out for a spin on day one. In contrast, lying is more expedient and thus primitive in our nature, as if an instinctual urge that is more reflex than refined. In terms of romantic relationships, whether marital or not, “cheating” sexually is definitely a sign of weakness because it places momentary pleasure above being held as reliable (i.e., trustworthy) in terms of promise-keeping. A boyfriend who admits that he might hurt his girlfriend emotionally by engaging in infidelity is really telling her that he is weak-willed and thus not good boyfriend (or husband) material. To be sure, a couple could agree that both can have sex separately with other people, so not being monogamous need not involve violating a promise. I don’t think Nietzsche’s philosophy goes so far as to embrace such an arrangement (especially if romantic feeling or connection is allowed in the separate sex), but neither is monogamy advocated, given the nature of Nietzschean strength that should be allowed out of the cage of societal convention periodically (but not on a regular basis). The concept of strength plays such a powerful role in Nietzsche’s philosophy that even the occasional raw expressiveness of strength beyond a societal straitjacket of moral convention would not be viewed as violating promised monogamy. 

The full essay is at "Nietzsche on Promise-Keeping." 

The String

The original title of the 2009 film, The String, is Le Fil, which actually translates as thread rather than string. These two English words have different connotations and this bears on the film’s leitmotif. Whereas a person can string another person along, a thread has a connotation of linking people emotionally. The thread that ultimately succeeds in the film is that of caring, which is antipodal to hurting, emotionally speaking. In this sense, the film is like The Holiday (2006), another romantic drama in which the good guys (and gals) wind up on top. In terms of the theme of caring and not hurting other people, that The String centers on two gay men who fall in love whereas The Holiday is about two heterosexual couples matters little, though the resistance to homosexuality in The String is an additional hurdle. I contend that like The Holiday, The String can provide audiences with how falling in love can proceed naturally without exploding because one person hurts the other. In other words, the ethical wins out in both films in regard to emotionally intimate romantic relationships, and in this respect the medium of film has value in terms of ethics.

The full essay is at "The String."

Transcending Caritas in Romantic Love

During the High Middle Ages, Troubadour poetry composed primarily in southern Europe included themes including of courtly love, which became associated with marriage. Before then, that institution was associated mostly with property and progeny rather than with romantic love. Interestingly, it was just as love was becoming associated with marriage when the Roman Catholic Church ended its centuries-old gay-marriage liturgy, which, sans property and progeny, was uniquely associated with love (for why else would gays marry?). The irony is that “modern” gay marriage in the West in the twenty-first century may have more to do with sex than love in the sex-centric gay culture of today, though obviously gays are fully capable of genuine romantic love that transcends such superficialities as lust that can be prioritized too highly at the expense of romantic love. Fear of emotional intimacy can exascerbate such misordered concupiscence. Adventurous exuberance combined with this fear need not eclipse more meaningful intimate relations. Indeed, married gays in loving, committed relationships even raise children in loving homes. Although utterly obscene to more conservative folks, such “mixed families” grounded in love warrant respect and even admiration for being based in genuine love even though emotional intimacy can be scary. This is what should be preached from the pulpit. Antipodally, the sex-centric approach to “relationships” in the gay “culture” justly warrants condemnation for being superficial, short-sighted, and utterly self-centered. Yet, whether gay or heterosexual, romantic love need not be selfish. The distinction in Christian theology between caritas and agape is relevant in making this point.

The full essay is at "Transcending Caritas in Romantic Love."

Hope Gap

Organized or institutional religion as the Roman Catholic Church is in the background in the 2019 European film, Hope Gap. Even with such names as Grace and Angela, religious connotations are present. In fact, the film can be interpreted, at least in part, as a critique on religion in general and Catholicism in particular. The medium of film can indeed play a vital role in critiquing sacred cows from the vantagepoint of an oblique angle or a safe distance.

The full essay is at "Hope Gap."