O regime dos aiatolás no Irã, estabelecido após a Revolução Islâmica de 1979,
é uma teocracia islâmica xiita onde a autoridade máxima é o Líder Supremo, atualmente Ali Khamenei. Aiatolás são clérigos de alto escalão com poder vitalício que controlam as forças armadas, política externa e a lei islâmica, limitando o poder do presidente eleito.
Principais Aspetos do Regime dos Aiatolás:
Líder Supremo: Ali Khamenei é o chefe de Estado, líder religioso, político e militar, escolhendo altos funcionários.
Estrutura de Poder: A Assembleia de Especialistas (88 clérigos) escolhe o líder supremo, mas os candidatos são aprovados pelo Conselho de Guardiões (12 membros), que vetam leis contrárias ao Islã.
Histórico: O regime assumiu o poder em 1979 com o Aiatolá Khomeini, derrubando a monarquia do Xá Reza Pahlavi.
Posicionamento: Altamente conservador, aplica estritamente a sharia (lei islâmica), com oposição total a Israel e tensões com os Estados Unidos.
Desafios Atuais: Enfrenta protestos internos (como o caso Mahsa Amini em 2022) devido a restrições sociais e forte crise económica com inflação elevada.
O sistema mantém um controle rígido sobre a mídia e a sociedade, com a Guarda Revolucionária agindo como pilar militar do regime.
Do The Gallerist and I Want Your Sex paint a fair picture of the art world, or is the gallery universe simply serving as a convenient magnifying glass for today’s social grievances? Brittany Rosemary Jones writes.
Do The Gallerist and I Want Your Sex paint a fair picture of the art world, or is the gallery universe simply serving as a convenient magnifying glass for today’s social grievances?Save to My Ocula
The Art World Has Become Cinema’s Favourite JokeSave to My Ocula
The art world is poised to become a favourite subject for cinema in 2026, if the annual Sundance Film Festival, which took place at the end of January, is any indication. This edition’s line-up included a cluster of films and pilots preoccupied with the machinations of contemporary art and its associated personalities, from artists to gallerists and collectors. What unites these projects is a perception of the art world as a social and economic formation shaped by the broader conditions of modern life. The non-fiction programme, for example, included the pilot of the limited series The Oligarch and the Art Dealer, a chronicle of billion-dollar art market swindle the ‘Yves Bouvier affair’. And two of the most highly anticipated fiction premieres, I Want Your Sex and The Gallerist, offered the first cinematic critiques of the contemporary art industry since Netflix’s kitschy art-horror Velvet Buzzsaw (2019) and Ruben Östlund’s The Square (2017). Both these 2026 movies are irreverent, campy satires depicting the art world as a theatre of performance and power, exploiting familiar archetypes to ridicule the cultural logic of society itself.
Natalie Portman and Jenna Ortega as Polina Polinski and Kiki in Cathy Yan's The Gallerist (2026) (Still). Courtesy MRC II Distribution Company L.P.
I Want Your Sex, a romp directed by the cult American filmmaker Gregg Araki, follows a fresh-faced university graduate named Elliot (Cooper Hoffman) who lands a studio assistant position for a famous Los Angeles-based artist, Erika Tracy (Olivia Wilde). Erika’s studio is a large-scale operation (seemingly a nod to Andy Warhol’s Factory) employing flamboyant trust-fund babies who crank out her self-described ‘neo-Pop’ sculptures and installations. When Elliot begins an illicit sub/dom affair with his boss, he embarks on a thrilling psychosexual journey that threatens to upend his relationship with his sex-avoidant medical-student girlfriend, Minerva (Charli xcx). Aptly named (after the Roman goddess of wisdom), Minerva is Erika’s foil, contrasting science with art, the cerebral with the carnal, and the repressed Gen Z with the Millennial libertine. At the opening of Erika’s commercial exhibition ‘Ekstasy’, Elliot becomes acutely aware of how this sexual power dynamic has informed his boss’s new body of work, collapsing the roles of the artist, creator and dom into one derivative and clichéd market-driven presentation that lacks any substance.
Olivia Wilde and Cooper Hoffmann as Elliot and Erika Tracey in Gregg Araki's I Want Your Sex (2026) (Still). Courtesy Black Bear Pictures.
We see a different side of the art world in The Gallerist, Cathy Yan’s new satire about a Miami-based art dealer, Polina Polinski (Natalie Portman) on the first day of Art Basel. Desperate to make her name as a ‘serious’ gallerist, like those setting up shop for the art fair in the vast convention centre nearby, Polina is preparing for the opening of an exhibition at her gallery of work by up-and-coming local artist Stella Burgess (Da’Vine Joy Randolph). When an art influencer visiting the exhibition is literally skewered by a large sculpture, Polina and Stella team up with nepo-baby gallery assistant Kiki (Jenna Ortega) and her mega-art advisor (and tax-evader) aunt, Marianne Gorman (Catherine Zeta-Jones), to pass the dead body off as part of the artwork. Such a gesture literalises the trope that the art market can absorb anything, including death itself, so long as it accrues value. Spectacle and drama ensue, including an all-out bidding war between Polina’s rich ex-husband and Marianne’s client, a capricious European man-child.
Art insiders will undoubtedly bristle at the films’ inaccuracies and implausible set pieces (such as a spontaneous auction at a commercial gallery opening). Yet these caricatures are instructive, shedding light on how the art world fashions itself in the press and public imagination. Time and time again, it renders itself as a commodity system, epitomised by highly publicised auction results; as a site of deliberate absurdity, or at least inscrutability. This is in part thanks to headline-grabbing ‘conceptual’ stunts like Comedian,Maurizio Cattelan’s duct-taped banana (first sold at the 2019 Art Basel Miami Beach $120,000, it went for $6.2 million at a Sotheby’s auction in New York in 2024) and Banksy’s self-destructing painting (the artist slyly installed a shredder within the frame of the canvas, which destroyed the work as the hammer came down on its sale at auction for £1m at Sotheby’s in 2018) . To many observers, the art world can often be read as a corrupt network of high-stakes negotiations juggling power and desire. Perhaps, then, the sardonic reputation the art world is receiving at the cinema is the one it deserves.
Charli XCX and Cooper Hoffman as Minerva and Elliot in Gregg Araki's I Want Your Sex (2026) (Still). Courtesy Black Bear Pictures.
In both films, art is a brutal business. Artists and gallerists stop at nothing to sell out exhibitions, immediately capitulating morally when faced with mild financial pressure. Driven by their desire to retain their position within a web of money and notoriety, the spineless female central characters resort to cheap tricks to increase their art’s market value. It’s a ruthless game of who’s ahead versus who’s behind: in one name-dropping sequence in The Gallerist, Kiki puts the pressure on Polina by reminding her boss that ‘last year Gagosian had a billion dollars in sales, and David Zwirner has five new Yayoi Kusamas. The art world functions here as a means of following the thread of unbridled capitalism to its endpoint, where even the dead can be commodified under the banner of ‘art’.
Much of the humour in these satires reaches for low-hanging fruit—the idea that contemporary art can be anything and is therefore nothing, with pretension overcompensating for this lack. (A bit rich coming from indie film.) In I Want Your Sex, while we’re told that Erika’s earlier practice engaged with themes of sexuality and intimacy more brazenly, her recent works are gimmicky: Elliot spends his days chewing pieces of bubblegum to stick on to paper in the shape of a vagina (in a twisted echo of American artist Hannah Wilke, who used chewed gum throughout the 1970s to sculpt vaginal forms in live performances and self-portraits that confronted the objectification of the female body), complaining that he expected to find the job more ‘intellectually stimulating’. Meanwhile, the artist spends most of her time pontificating about contemporary art and eroticism, thoughtlessly contradicting herself or repeating others’ meaningless statements about exploring the ‘psychological dimension of humanity’. When she superciliously declares that ‘contemporary art is a scam’, she briefly gets to the heart of what everyone’s thinking—only to retract it, revealing the accusation to be as hollow as its target.
In The Gallerist, the joke takes shape through incessant references to the art world’s insularity, a farce sustained by opaque hierarchies and rules. The original artwork that kills the unsuspecting influencer, a blown-up livestock castrator titled Daddy’s Shears, is rebranded after the grotesque accident as The Emasculator and advertised as a commentary on modern masculinity. Once it is sold, a freeport (designated areas within countries that offer a free-trade environment with a minimum level of regulation, and which are often used by collectors to avoid capital gains taxes and public knowledge of their transactions) is intended to function as Polina’s magical off-site solution—a place where inconvenient objects can simply disappear without explanation.
It is easy to see why, in these films, the art world functions as a representational device to convey the discontents of contemporary society. As a distillation of techno-capitalism, it provides a lens through which broader contemporary anxieties can be easily (although not always accurately) mapped on to the politics of art-making and art-selling. We inhabit a world in which billionaires play by their own rules, Gen Z is undergoing a ‘sex recession’, and influence and spectacle are currency. The art world has become rich material for filmmakers in our time not as a subject but as a canvas, one on which the tensions of social, sexual and economic life come into relief. —[O]
Main image: Olivia Wilde and Cooper Hoffmann as Elliot and Erika Tracey in Gregg Araki's I Want Your Sex (2026) (Still). Courtesy Black Bear Pictures.
This essay is an installment of The Long Game, a Big Think Business column focused on the philosophy and practice of long-term thinking by Eric Markowitz, a partner at Nightview Capital and forthcoming author of OUTLAST. Follow him on X (@EricMarkowitz) and LinkedIn.
Not long ago, I traveled to Kyoto while researching my book project, which explores the secrets of endurance among some of the oldest companies in the world.
On the morning before I left Japan, I decided to take a last-minute walk to a small tea caddy shop I had heard about. According to popular legend, this shop helped inspire Steve Jobs’ design philosophy for the iPhone box. The cylindrical tea caddies here are hammered so precisely that the lid appears to float downward when you close it, sealing with an almost magical sense of inevitability.
Winding through residential streets lined with low wooden buildings, I eventually found the shop. A simple sign on the door read: Kaikado. For a first-time visitor, it’s easy to miss — and even a little hard to figure out how to enter. Unlike many Western storefronts, there’s no attempt to impress passersby. If you weren’t deliberately searching for it, you’d likely walk straight past without noticing.
Which, in a way, is the point.
Kaikado was founded in 1875, shortly after Japan emerged from centuries of isolation. Its purpose was narrow then and remains unchanged today: to make tea caddies — chazutsu — that preserve tea at its freshest. The company does not make many things. It has grown only modestly over nearly 150 years. And it remains in the hands of the founding family, now led by Takahiro Yagi, the sixth-generation owner.
The workshop still sits in Kyoto, and the tools haven’t changed much over a century. The pace is slow by modern standards, and certainly glacial by Silicon Valley hustle culture.
Inside the shop, there was no music playing. Light spilled in through the windows, illuminating a workbench where sheets of brass, copper, and tin waited to be transformed.
In the corner of the shop, a young man tapped steadily with a small hammer against a tea caddy about the size of a coffee mug. I watched him for a while as he coaxed the metal into shape, giving it tiny taps again and again. Eventually, I introduced myself and struck up a conversation. I learned that he was early in his apprenticeship — though “early” is a relative term here. Kaikado’s apprenticeship lasts roughly 10 years.
To begin with, apprentices don’t assemble full tea caddies at all. Instead, they practice individual motions repeatedly: cutting, shaping, polishing. Only much later are they entrusted with assembling a piece from start to finish.
An apprentice at Kaikado in Kyoto, Japan. Credit: Eric Markowitz
Each tea caddy consists of more than a hundred production steps, many of them invisible to the untrained eye. The tolerances are so exact that no rubber gasket is needed. The lid seals itself through precision alone — and when crafted perfectly, it releases an almost musical whoosh of air when opened or closed.
As we made small talk, I asked him what he enjoyed about his work. Coming from the United States — where many young people dream of becoming YouTube stars or launching billion-dollar startups — I was curious what motivated him to pursue this path.
He paused, as if the question wasn’t one he’d been asked often.
Then he told me that the work was a form of meditation.
When he was shaping metal — when his hands were steady and his attention fully absorbed — his mind settled. The repetition wasn’t boring to him. Each day, he returned to the same motions, the same materials, the same standards. And each day, he noticed something slightly different: a tiny improvement, a mistake corrected, a cleaner edge. Growth and ambition weren’t the goal. Refinement was.
As he spoke, I realized how foreign this idea has become to many of us.
Today, meditation is something we do outside of work. We download apps. We schedule sessions with therapists. We carve out time to steady our minds because our days rarely allow for it naturally. Behavioral health has become a booming industry.
This is not an accident.
We live in a time when very few people are allowed — or encouraged — to pursue mastery in a deep, patient sense. Work has become fragmented. Attention is constantly interrupted. Success is measured in metrics and outputs rather than quality or depth. We bounce between tasks, inboxes, and platforms, rarely staying with any one thing long enough to become truly good at it.
And so we seek meditation as a corrective — a counterbalance — a way to reclaim focus in an environment that seems designed to fracture it.
The tragedy of modern work is not that we ask too much of people — it’s that we ask too little of their attention. We keep people busy but not engaged. Productive but not absorbed.
What struck me in that Kyoto workshop was the inversion of this logic.
For that craftsman, meditation was not separate from work. It was embedded in it. The act of making — slowly, carefully, repeatedly — was the practice. Mastery produced calm, not the other way around.
As a business, Kaikado has survived because of this relentless devotion to mastery and care. The company has resisted expansion out of respect for the limits of quality. There are only so many tea caddies you can make properly in a year. Push beyond that, and something breaks — perhaps not immediately, but inevitably.
This lesson extends far beyond craft.
We often treat focus as a personality trait, or meditation as a wellness accessory. But focus is structural. It emerges when we design our lives and work around fewer, more meaningful pursuits. It appears when we allow ourselves to stay with something long enough for depth to replace novelty.
The tragedy of modern work is not that we ask too much of people — it’s that we ask too little of their attention. We keep people busy but not engaged. Productive but not absorbed. In doing so, we deprive them of one of mastery’s great rewards: the feeling of being fully present in what you’re doing.
You don’t need to move to Kyoto or spend 10 years in an apprenticeship to apply this idea. Most of us can’t leave our busy jobs and demanding careers. But the principle itself is remarkably accessible — even for the busiest among us.
Here are three takeaways I carried home from my visit to Kaikado.
First: Slow down — not everywhere, but somewhere
Slowness doesn’t need to be universal to be effective. You don’t need to slow every part of your life. But you do need at least one domain where speed isn’t the primary metric — one place where you allow yourself to work deliberately, without racing to the next thing. This might be how you write emails. How you prepare for meetings. How you think through a problem before responding. The activity itself matters less than the permission to resist haste. Slowness creates space for attention. And attention is the soil in which mastery grows.
Second: Focus on something worthy — even if it’s small
Not every pursuit needs to be world-changing to matter. The craftsman at Kaikado isn’t reinventing the tea caddy or building a world-conquering app. He’s refining a process, again and again. You can bring this same mindset to something as ordinary as an email. Write it clearly and thoughtfully. Or apply it to a presentation, a report, or a conversation — anything. When you treat small tasks as worthy of care, they become something more valuable for both you and the recipient. They stop being obstacles to clear and become practices to engage with.
Third: Try to get a little better every day
Mastery isn’t dramatic, and it’s rarely noticed until it’s felt. It accumulates through marginal gains that are nearly invisible in the moment. The craftsman I met didn’t expect to be great anytime soon. He expected to be better — over many years.
This is far more sustainable than chasing constant excellence or overnight success. Improvement compounds. Over weeks, months, and years, it reshapes how you think and what becomes possible. Given a steady object of focus, the mind settles. The noise recedes. The work becomes its own reward.
We often assume that peace comes from escape — from stepping away from work and responsibility. But sometimes it comes from the opposite direction: from leaning in, narrowing our focus, and committing to doing one thing well for a very long time.
Mastery, it turns out, may be one of the oldest — and most underrated — forms of meditation we have.