A Phenomenology of Gazes || Nope (2022)

“Nope” is almost aggressively defined by gazes. Anyone who has seen it will remember Daniel Kaluuya’s character, OJ, not so much deducing as intuiting, within a life-or-death scenario, that the movie’s flying saucer — really, more of an Unidentified Feeding Object — consumes anything which grants (or appears to grant, as the movie’s climax demonstrates) it attention.