Uncut Gems commits to unfiltered sensate closeness rather than narrative mediation.

Evidence

The object of all this engineered intentness is a desperate gamble, too late capitalism and its horrid subsidiaries. The abstract global system metabolizing miners and dealers and gamers and performers gurgles down to concrete viscera; though glimpsed fleetingly, the propulsion of colonoscopy cinema is away from networked relations and toward the sensate uncut. Uncut Gems telegraphs in its title the unmediated ore with which its visual production aligns. Its strategy to engage the libidinally charged, Semiticly coded cataclysm of chronic capitalist speculation is shitscoping, so close and so strained you can smell it. — Anna Kornbluh, Immediacy, or The Style of Too Late…, 193

Categorization

• SEED: The reader wants to identify immediacy features in real works; ‘shitscoping’ is a portable keyword for the aesthetic of hyperproximity, applicable to lots of contemporary film and TV.
• QUESTION: ‘Semiticly coded cataclysm’ — her reading of Uncut Gems via Jewish-coded speculation is provocative and worth interrogating against the film.