{"id":36279,"date":"2025-01-19T09:18:57","date_gmt":"2025-01-19T09:18:57","guid":{"rendered":"https:\/\/peraltafinancing.com\/activist\/the-empty-thrills-of-alfonso-cuarons-disclaimer\/"},"modified":"2025-01-19T09:18:57","modified_gmt":"2025-01-19T09:18:57","slug":"the-empty-thrills-of-alfonso-cuarons-disclaimer","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=36279","title":{"rendered":"The Empty Thrills of Alfonso Cuar\u00f3n\u2019s \u201cDisclaimer\u201d"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div id=\"\">\n<div id=\"article-title-block_b0ea02d2891b782be58e39b7e914c860\" class=\"article-title \">\n<div class=\"article-title__container\">\n<div class=\"article-title__eyebrow\">\n                            <span class=\"article-title__labels\"><br \/>\n                                                                                <span class=\"article-title__label\"><br \/>\n                                            <a href=\"https:\/\/www.thenation.com\/content\/books-and-the-arts\/\">Books &amp; the Arts<\/a><br \/>\n                                        <\/span><br \/>\n                                    <\/span><br \/>\n                                    <span class=\"article-title__label-divider\"> \/ <\/span><br \/>\n                                                                            <span class=\"article-title__date\">December 19, 2024<\/span>\n                                    <\/div>\n<div class=\"wp-block-the-nation-dek article-title__dek secondary-dek\">\n<p aria-level=\"h3\" role=\"heading\">Alfonso Cuar\u00f3n\u2019s <em>Disclaimer<\/em>.<\/p>\n<\/div>\n<div class=\"acf-innerblocks-container\">\n<div class=\"wp-block-the-nation-dek article-title__dek\">\n<p>Why did the great Mexican filmmaker make a soapy thriller?<\/p>\n<\/div>\n<\/div><\/div>\n<\/div>\n<aside aria-hidden=\"true\" class=\"ad-block ad siderail-ad float-r-w-3 break-r-4\">\n<p>                                    <a href=\"http:\/\/www.thenation.com\/advertising-policy\" class=\"ad-policy\" target=\"_blank\">Ad Policy<\/a><br \/>\n                                    <\/aside>\n<figure class=\"wp-block-image alignwide size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1440\" height=\"907\" src=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2024\/12\/Cotte-Disclaimer.jpg\" alt=\"A scene from \u201cDisclaimer.\u201d\" class=\"wp-image-532688\" srcset=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2024\/12\/Cotte-Disclaimer.jpg 1440w, https:\/\/www.thenation.com\/wp-content\/uploads\/2024\/12\/Cotte-Disclaimer-275x173.jpg 275w, https:\/\/www.thenation.com\/wp-content\/uploads\/2024\/12\/Cotte-Disclaimer-768x484.jpg 768w, https:\/\/www.thenation.com\/wp-content\/uploads\/2024\/12\/Cotte-Disclaimer-810x510.jpg 810w, https:\/\/www.thenation.com\/wp-content\/uploads\/2024\/12\/Cotte-Disclaimer-340x215.jpg 340w, https:\/\/www.thenation.com\/wp-content\/uploads\/2024\/12\/Cotte-Disclaimer-168x106.jpg 168w, https:\/\/www.thenation.com\/wp-content\/uploads\/2024\/12\/Cotte-Disclaimer-382x240.jpg 382w, https:\/\/www.thenation.com\/wp-content\/uploads\/2024\/12\/Cotte-Disclaimer-793x500.jpg 793w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\"\/><figcaption class=\"wp-element-caption\">\n<p>A scene from <em>Disclaimer<\/em>.<\/p>\n<p><span class=\"credits\">(Courtesy of Apple TV+)<\/span><\/figcaption><\/figure>\n<aside id=\"issue-aside-block-block_647b6ec868a87665a6e58d43f6fec7c7\" class=\"issue-aside-block  float-l-w-2\">\n    This article appears in the <a href=\"https:\/\/www.thenation.com\/issue\/january-2025-issue\/\">January 2025 issue<\/a>.<br \/>\n<\/aside>\n<p class=\"has-drop-cap\">D<em>isclaimer<\/em>, Alfonso Cuar\u00f3n\u2019s new series on Apple TV+, is about narrative and its relationship to truth. The series is, at its core, a simple melodrama, but its layers of excessive voiceover tend to reduce narrative to literal narration. <em>Disclaimer<\/em> wants to tell a complicated story, but it does so by spelling out exactly what its characters are thinking and feeling. Insisting on the ambiguities of its narrative, it is an exercise in storytelling that also wants to make sure we do not miss its lesson.<\/p>\n<div id=\"current-issue-block_b27e36055e0bef006dfe2bdb6bd84e64\" class=\"current-issue  float-l-w-2\">\n<h4 class=\"current-issue__title\">\n                    Current Issue<br \/>\n            <\/h4>\n<p>    <a href=\"https:\/\/www.thenation.com\/issue\/february-2025-issue\/\" class=\"current-issue__cover\"><br \/>\n        <img decoding=\"async\" src=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/cover0225.jpg\" alt=\"Cover of February 2025 Issue\"\/><br \/>\n    <\/a><\/p>\n<\/div>\n<p>The miniseries is the first work Cuar\u00f3n has directed since his film <em>Roma<\/em>, which garnered three Academy Awards in 2019, including Best Directing and Best Foreign Language Film. Set in the early 1970s, <em>Roma<\/em> drew from the writer-director\u2019s upbringing in Mexico City and followed the experiences of a Mixtec housekeeper caught up in a time of personal and political turmoil. <em>Roma<\/em> was an unavoidably personal picture, but <em>Disclaimer<\/em>, with its multiple storytellers, gesturing orchestral score, and visually demarcated timelines, feels impersonal and overwrought.<\/p>\n<p>Cuar\u00f3n adapted <em>Disclaimer<\/em> from a novel of the same name by Ren\u00e9e Knight, a beach-read mystery in which dueling perspectives build up to a revelation. The series is a prestige soap, no getting around it, filled with sex and scandal and a mysterious death. But rather than drawing us into the events of the story, or even giving us the simple pleasures of its genre, it ends up being oddly didactic, so concerned with making its point that it flattens the subtlety and suspense that can be delivered by good craft.<\/p>\n<p class=\"is-style-dropcap\"><em>Disclaimer<\/em> begins with our introduction to Catherine Ravenscroft (Cate Blanchett), an accomplished documentarian whom we first see getting a big award for her work. Catherine is a truth teller who reveals the devious secrets of the powers that be. But she also has her own secret, as becomes clear when she receives a book in the mail that threatens to expose it: a self-published roman \u00e0 clef that purports to reveal how her actions led to the death of a teenager 20 years earlier. Catherine immediately recognizes herself in the novel, and the guilt, lies, and concealment all bubble up to disrupt the seemingly calm surface of her life.<\/p>\n<p>Catherine\u2019s own shock of recognition spreads to those closest to her: her husband, Robert (Sacha Baron Cohen), who runs a foundation that launders his family\u2019s generational wealth, and her adult son, Nicholas (Kodi Smit-McPhee), who can barely hold down a job and is thrust out to live on his own for the first time. They, too, get copies of the book, along with lurid photographs of the young Catherine that appear to confirm its depiction of her. Then the book spreads among her coworkers as well. Never mind that reasonable people might question the veracity of a self-published book that has appeared out of thin air or wonder why they are receiving it\u2014everyone seems eager to cancel Catherine.<\/p>\n<p>The catalyst for all this conflict is Stephen Brigstocke (Kevin Kline), a musty old widower who has drifted through life with no purpose until he finds a manuscript and some old photographs left behind by his late wife, Nancy (Lesley Manville). In those pages, Stephen reads about his son, Jonathan, a helpless young teenage boy enthralled by an older woman (apparently Catherine), whose cruelty leads to his death. Stephen is now determined to right this wrong\u2014or at least to exact his revenge.<\/p>\n<p>Stephen devises a plan that will strip Catherine of all the success, reputation, and familial affection she has gained over the past 20 years. He sees himself as an avenger of injustice, and his life is renewed by this pursuit; he is giddy with excitement. When he leaves a copy of the book for Catherine\u2019s son, he mimes tossing a hand grenade. Stephen might as well be twirling his villain\u2019s mustache, though at least he\u2019s having fun\u2014even if no one else is.<\/p>\n<section aria-hidden=\"true\" class=\"ad fullwidth-ad contained row position-relative ad-block alignfull \">\n            <!--Ad policy starts here--><br \/>\n                    <a href=\"http:\/\/www.thenation.com\/advertising-policy\" class=\"mid-ad-policy\">Ad Policy<\/a><br \/>\n                <!--Ad policy ends here--><\/p>\n<\/section>\n<p class=\"is-style-dropcap\">As a director, Cuar\u00f3n always adjusts his formal techniques to match the demands of each individual film. In his science-fiction thrillers <em>Children of Men <\/em>and <em>Gravity<\/em>, he takes viewers into different worlds with long, immersive tracking shots. In <em>Roma<\/em>, his black-and-white photography stays parallel to the action and establishes a flatter, more objective perspective in the midst of familial drama.<\/p>\n<p>In <em>Disclaimer<\/em>, Cuar\u00f3n again leverages light and color, shot length and movement, to narrate his tale of secrecy and competing truths. Working with two cinematographers\u2014Emmanuel Lubezki, his longtime collaborator, and Bruno Delbonnel\u2014he welds their distinct styles to distinguish between the events of the present and the recent past and those of 20 years earlier.<\/p>\n<p>If nothing else, the series is so gorgeously photographed that it makes you want to watch it on mute. Look at how Lubezki films the encroaching dawn in the Ravenscroft kitchen, how the sun peeks in through the curtains when Catherine wakes into her nightmare. When her husband is struck by Stephen\u2019s ammo, the photography switches to an unsteady handheld look, full of shakiness and dramatic zooms. The scenes in Italy, photographed by Delbonnel, are romantic and soft, almost ethereal, pink and orange like the sunset. Yet when combined with everything else, these contrasting visual styles come to feel overly literal. Want to guess which scenes are meant to depict a version of events that may prove to be only loosely tied to reality?<\/p>\n<div id=\"cta-block_17413caefd6fc3276767036246b3d767\" class=\"cta float-l-w-2\">\n<p><em>Disclaimer<\/em> distrusts not only its audience but its own images. The series is bathed in various voice-overs that sometimes deliver exposition in the most direct way possible but also often narrate the very events we are watching. We learn about the memory issues that Catherine\u2019s mother is dealing with just before a phone conversation illustrates these same issues; we learn about Robert\u2019s disappointment with Nicholas just as we see him looking over his son\u2019s sketchy apartment, his dismay etched on his face. We are told precisely what the core characters are thinking and feeling, leaving nothing to the imagination. It\u2019s not just that the acting and visual storytelling are made to feel redundant, but that the audience is robbed of one of the key attractions of a serialized and soapy mystery: the pleasure of connecting the dots.<\/p>\n<p>There\u2019s probably a point to all of this narrating. Cuar\u00f3n wants to remind us that so much of our thinking and behavior at any given moment reflects our limited perspective, and that narratives, once they take hold, can shape and affect our perception of the truth. But rather than shading the story with doubt, this tactic erases ambiguity.<\/p>\n<p>It eventually becomes clear that there is a twist or revelation coming. Yet the series stacks the deck so much in one direction that, when it does come, the twist feels almost formulaic: the unvarnished truth that overturns and condemns all the other supposed truths the show has fed its viewers. What does it mean, though, that <em>Disclaimer<\/em> has spent a good 90 percent of its run time airing and developing a set of assumptions that are now entirely discarded? Cuar\u00f3n has stated his desire to confront viewers for their own judgment of Catherine, to reveal the ambiguities found in all narratives\u2014and yet it\u2019s a judgment that the show itself imposes on them. As Phillip Maciak observed in <em>The New Republic<\/em>, to achieve his gotcha moment, Cuar\u00f3n ends up doing to the audience exactly what his show claims to condemn: It \u201ccommits the sin in order to eventually point a finger at us viewers for committing it, too.\u201d <em>Disclaimer<\/em> goes for shock and indignation rather than empathy.<\/p>\n<p>Perhaps the moral of the story would land better if the world that <em>Disclaimer<\/em> imposes on us were at least fun to inhabit. The same material could have been presented as a thriller, such as <em>Gone Girl<\/em>, or a dark comedy soap like <em>Big Little Lies<\/em>. Then you could at least draw viewers into investing in the story, only to rupture their assumptions later. Yet even as genre fare, <em>Disclaimer<\/em> has no winking self-awareness, no hint of camp, and takes no pleasure in its tropes\u2014in short, it\u2019s no fun. But you can\u2019t condemn us for investing in a false narrative if you never got us to buy into it in the first place.<\/p>\n<section id=\"popular-block_e8fb3e80d1473769b8052fb0e2f56f32\" class=\"popular-articles\">\n<div class=\"swiper\">\n<p><h2>Popular<\/h2>\n<p>            <span class=\"swipe-msg\"><span class=\"sr-only\">\u201cswipe left below to view more authors\u201d<\/span>Swipe \u2192<\/span>\n        <\/p>\n<ol class=\"popular-articles__list\">\n<li class=\"popular-articles__list-item swiper-slide\">\n<\/li>\n<li class=\"popular-articles__list-item swiper-slide\">\n<\/li>\n<li class=\"popular-articles__list-item swiper-slide\">\n<\/li>\n<li class=\"popular-articles__list-item swiper-slide\">\n<\/li>\n<\/ol><\/div>\n<\/section>\n<div id=\"article-end-\" class=\"article-end \">\n<div class=\"article-end__authors\">\n<div class=\"article-end__author\">\n<h5 class=\"article-end__author-name\">\n                        <a href=\"https:\/\/www.thenation.com\/authors\/jorge-cotte\/\">Jorge Cotte<\/a><br \/>\n                    <\/h5>\n<div class=\"article-end__author-bio\">\n<p>is a writer living in Chicago. His essays and reviews have appeared in <em>The Los Angeles Review of Books<\/em> and <em>The New Inquiry<\/em>.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<p>        <!-- Tag ID: thenation_incontent_2 --><\/p>\n<section class=\"collections collections--col-0\">\n<div class=\"container\">\n<h2 class=\"collections__title\">More from <span class=\"not-italic\">The Nation<\/span><\/h2>\n<div class=\"collection__row\">\n<div class=\"collections__card   \">\n            <a class=\"collections__card-image-link\" href=\"https:\/\/www.thenation.com\/article\/culture\/david-lynch\/\" aria-label=\"The Unsettling Genius of David Lynch\"><br \/>\n                        <img decoding=\"async\" class=\"collections__card-image\" srcset=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Lynch.jpg 1440w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Lynch-275x173.jpg 275w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Lynch-768x484.jpg 768w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Lynch-810x510.jpg 810w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Lynch-340x215.jpg 340w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Lynch-168x106.jpg 168w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Lynch-382x240.jpg 382w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Lynch-793x500.jpg 793w\" src=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Lynch.jpg\" alt=\"David Lynch at the filming of \u201cWild at Heart.\u201d\"\/><br \/>\n        <\/a><\/p>\n<div class=\"collections__card-content\">\n<p class=\"dek\">\nIn his films, his TV shows,  and his paintings, Lynch reminded us that all art gestures toward a world beyond the familiar and comforting.\n<\/p>\n<p class=\"knockout \">\n<p>                                                <a href=\"https:\/\/www.thenation.com\/content\/books-and-the-arts\/\" class=\"collections__label\">Books &amp; the Arts<\/a><br \/>\n                                            <span class=\"collections__divider\"><br \/>\n                            \/<br \/>\n                        <\/span><br \/>\n                                                                        <a class=\"collections__author\" href=\"https:\/\/www.thenation.com\/authors\/erik-baker\/\">Erik Baker<\/a>                                    <\/p>\n<\/p><\/div>\n<\/div>\n<div class=\"collections__card   \">\n            <a class=\"collections__card-image-link\" href=\"https:\/\/www.thenation.com\/article\/culture\/jamie-xx-dance-music-in-waves\/\" aria-label=\"The Introspective Club Hits of Jamie xx\"><br \/>\n                        <img decoding=\"async\" class=\"collections__card-image\" srcset=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Stephen-Jamie_xx.jpg 1440w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Stephen-Jamie_xx-275x173.jpg 275w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Stephen-Jamie_xx-768x484.jpg 768w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Stephen-Jamie_xx-810x510.jpg 810w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Stephen-Jamie_xx-340x215.jpg 340w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Stephen-Jamie_xx-168x106.jpg 168w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Stephen-Jamie_xx-382x240.jpg 382w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Stephen-Jamie_xx-793x500.jpg 793w\" src=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Stephen-Jamie_xx.jpg\" alt=\"Jamie XX performing in London in 2024.\"\/><br \/>\n        <\/a><\/p>\n<div class=\"collections__card-content\">\n<p class=\"dek\">\nWith In Waves, Jamie xx\u2014whose real name is James Smith\u2014has perfected what he explored in In Colour: an album full of searching tunes that can double as dance songs.\n<\/p>\n<p class=\"knockout \">\n<p>                                                <a href=\"https:\/\/www.thenation.com\/content\/books-and-the-arts\/\" class=\"collections__label\">Books &amp; the Arts<\/a><br \/>\n                                            <span class=\"collections__divider\"><br \/>\n                            \/<br \/>\n                        <\/span><br \/>\n                                                                        <a class=\"collections__author\" href=\"https:\/\/www.thenation.com\/authors\/bijan-stephen\/\">Bijan Stephen<\/a>                                    <\/p>\n<\/p><\/div>\n<\/div>\n<div class=\"collections__card   \">\n            <a class=\"collections__card-image-link\" href=\"https:\/\/www.thenation.com\/article\/culture\/babygirl-movie-review\/\" aria-label=\"Can \u201cBabygirl\u201d Breathe New Life Into a Retrograde Genre? \"><br \/>\n                        <img decoding=\"async\" class=\"collections__card-image\" srcset=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/babygirl.jpg 1440w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/babygirl-275x173.jpg 275w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/babygirl-768x484.jpg 768w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/babygirl-810x510.jpg 810w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/babygirl-340x215.jpg 340w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/babygirl-168x106.jpg 168w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/babygirl-382x240.jpg 382w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/babygirl-793x500.jpg 793w\" src=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/babygirl.jpg\" alt=\"Nicole Kidman and Harris Dickinson in \u201cBabygirl.\u201d\"\/><br \/>\n        <\/a><\/p>\n<div class=\"collections__card-content\">\n<p class=\"dek\">\nThe movie, starring Nicole Kidman, operates at the level of the female gaze. Its inversion of erotic thriller tropes leads to fascinating but, at times, tepid results.\n<\/p>\n<p class=\"knockout \">\n<p>                                                <a href=\"https:\/\/www.thenation.com\/content\/books-and-the-arts\/\" class=\"collections__label\">Books &amp; the Arts<\/a><br \/>\n                                            <span class=\"collections__divider\"><br \/>\n                            \/<br \/>\n                        <\/span><br \/>\n                                                                        <a class=\"collections__author\" href=\"https:\/\/www.thenation.com\/authors\/erin-schwartz\/\">Erin Schwartz<\/a>                                    <\/p>\n<\/p><\/div>\n<\/div>\n<div class=\"collections__card   \">\n            <a class=\"collections__card-image-link\" href=\"https:\/\/www.thenation.com\/article\/culture\/slugs-jazz-ethan-iverson\/\" aria-label=\"Jazz Off the Record\"><br \/>\n                        <img decoding=\"async\" class=\"collections__card-image\" srcset=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Iverson-Slugs-ftr.jpg 1440w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Iverson-Slugs-ftr-275x173.jpg 275w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Iverson-Slugs-ftr-768x484.jpg 768w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Iverson-Slugs-ftr-810x510.jpg 810w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Iverson-Slugs-ftr-340x215.jpg 340w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Iverson-Slugs-ftr-168x106.jpg 168w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Iverson-Slugs-ftr-382x240.jpg 382w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Iverson-Slugs-ftr-793x500.jpg 793w\" src=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/Iverson-Slugs-ftr.jpg\" alt=\"Jazz Off the Record\"\/><br \/>\n        <\/a><\/p>\n<div class=\"collections__card-content\">\n<p class=\"dek\">\nIn the late 1960s, the recording industry lost interest in America\u2019s\u00a0greatest art form. But in a small, dark club on the Lower East Side of Manhattan, jazz legends\u00a0were &#8230;<\/p>\n<p class=\"knockout \">\n<p>                                                <a href=\"https:\/\/www.thenation.com\/content\/feature\/\" class=\"collections__label\">Feature<\/a><br \/>\n                                            <span class=\"collections__divider\"><br \/>\n                            \/<br \/>\n                        <\/span><br \/>\n                                                                        <a class=\"collections__author\" href=\"https:\/\/www.thenation.com\/authors\/ethan-iverson\/\">Ethan Iverson<\/a>                                    <\/p>\n<\/p><\/div>\n<\/div>\n<div class=\"collections__card   \">\n            <a class=\"collections__card-image-link\" href=\"https:\/\/www.thenation.com\/article\/culture\/fady-joudah-poetry\/\" aria-label=\"Fady Joudah\u2019s Poetry of Dislocation\"><br \/>\n                        <img decoding=\"async\" class=\"collections__card-image\" srcset=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/VENTURA-Joudah-Omar.jpg 1440w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/VENTURA-Joudah-Omar-275x173.jpg 275w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/VENTURA-Joudah-Omar-768x484.jpg 768w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/VENTURA-Joudah-Omar-810x510.jpg 810w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/VENTURA-Joudah-Omar-340x215.jpg 340w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/VENTURA-Joudah-Omar-168x106.jpg 168w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/VENTURA-Joudah-Omar-382x240.jpg 382w, https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/VENTURA-Joudah-Omar-793x500.jpg 793w\" src=\"https:\/\/www.thenation.com\/wp-content\/uploads\/2025\/01\/VENTURA-Joudah-Omar.jpg\" alt=\"Fady Joudah\u2019s Poetry of Dislocation\"\/><br \/>\n        <\/a><\/p>\n<div class=\"collections__card-content\">\n<p class=\"dek\">\nIn his new book of poetry, [\u2026], the poet, translator, and ER doctor explores Palestinians\u2019 experiences of exile and displacement\u2014and the difficulty of healing amid the ongoing Nak&#8230;<\/p>\n<p class=\"knockout \">\n<p>                                                <a href=\"https:\/\/www.thenation.com\/content\/books-and-the-arts\/\" class=\"collections__label\">Books &amp; the Arts<\/a><br \/>\n                                            <span class=\"collections__divider\"><br \/>\n                            \/<br \/>\n                        <\/span><br \/>\n                                                                        <a class=\"collections__author\" href=\"https:\/\/www.thenation.com\/authors\/hussein-omar\/\">Hussein Omar<\/a>                                    <\/p>\n<\/p><\/div>\n<\/div><\/div>\n<\/p><\/div>\n<\/section>\n<p>        <!-- Tag ID: thenation_btf_medrec --><\/p>\n<p>\t\t        <input type=\"hidden\" name=\"tpContentAuthor\" value=\"Jorge Cotte\"\/><br \/>\n        <input type=\"hidden\" name=\"tpTags\" value=\"environmental-activism,television,books-and-the-arts\"\/><\/p><\/div>\n<\/p><\/div>\n<p><script type=\"a5383e81538543c0f9c4b663-text\/javascript\">\n\t\t!function(f,b,e,v,n,t,s)\n\t\t{if(f.fbq)return;n=f.fbq=function(){n.callMethod?\n\t\tn.callMethod.apply(n,arguments):n.queue.push(arguments)};\n\t\tif(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0';\n\t\tn.queue=[];t=b.createElement(e);t.async=!0;\n\t\tt.src=v;s=b.getElementsByTagName(e)[0];\n\t\ts.parentNode.insertBefore(t,s)}(window,document,'script', 'https:\/\/connect.facebook.net\/en_US\/fbevents.js');\n\t\tfbq('init', '233793277040432');\n\t\tfbq('track', 'PageView');\n\t\t\t\t<\/script><br \/>\n<br \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Books &amp; the Arts \/ December 19, 2024 Alfonso Cuar\u00f3n\u2019s Disclaimer. Why did the great Mexican filmmaker make a soapy thriller? Ad Policy A scene from Disclaimer. (Courtesy of Apple TV+) This article appears in the January 2025 issue. Disclaimer, Alfonso Cuar\u00f3n\u2019s new series on Apple TV+, is about narrative and its relationship to truth. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":36280,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12022],"tags":[23727,23728,19736,7996,23726],"dealstore":[],"offerexpiration":[],"class_list":["post-36279","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-activist","tag-alfonso","tag-cuarons","tag-disclaimer","tag-empty","tag-thrills"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Empty Thrills of Alfonso Cuar\u00f3n\u2019s \u201cDisclaimer\u201d - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=36279\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Empty Thrills of Alfonso Cuar\u00f3n\u2019s \u201cDisclaimer\u201d - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Books &amp; the Arts \/ December 19, 2024 Alfonso Cuar\u00f3n\u2019s Disclaimer. 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