demonlover deals in two bizarrely interconnected obsessions. On one hand: the sleek, vapid, liminal spaces of high-end corporate-run Late Capitalism, a la Christian Petzold. On the other hand: a dystopic Internet sphere filled to the brim with sadomasochistic erotica. Yet in Assayas’ world—just like our own—the lines between waning affect and ultaviolent affect are far from strange bedfellows: Characters move in non-place networks just like the digital smut they sell, and the film’s strangely banal catfights picture a world in which Internet-driven affect has already reached the point of satiated intensities—leaving its characters, and its viewers, stuck in an uncomfortable nightmare space of simultaneous excess and numbness.