You may choose to view Milo as O'Shea's modernized update of the
iconic monster or a child brimming with inner evil; the film keeps its ends open, its truths veiled and only makes its sociopolitical allegories plain in its
final, haunting
images.
A pioneer of photomontage, whose
images of women presaged the ideas of Simone de Beauvoir and Second Wave Feminism half a century later, Hoch was a pivotal figure in Dada, the anti-art movement that outraged conventional opinion in the
final years of World War One, working alongside
iconic male artists such as George Grosz, John Heartfield and Raoul Hausmann.