The Semitic chronicler of Angel Studios has logged back on.

The company’s releases stand as answers to the question, “How can a sociopolitically right-leaning movie-studio survive in screechingly (neo-)liberal Hollywood?

Sound of Freedom’s Q-inflected bonanza was a pivot point of sorts. Would Angel Studios double down on flirting with the soft far-right? Or was diversifying the portfolio in order, showing that Angel Studios isn’t solely for the devout?

Well, Cabrini resides firmly in the latter camp. But here’s the thing: when modern conservatives cosplay as liberals, the result feels like…the neoliberalism that dominated the industry before “identity politics” became a zeitgeisted buzzword, united by the age-old concern of WHAT ABOUT THE CHILDREN!!!!!

Seriously, Angel Studios produces more movies about kids than Disney, as long as they’re suffering and in need of white knights.

It might be party-line sacrilege to compliment Angel Studios in this town, but Alejandro Monteverde — the director of Sound of Freedom and Cabrini — boasts more visual panache than the average wide release, with a yellowish-greenish sheen similar to the social media joke about what Hollywood cinematography set in Mexico tends to look like.

…which is also reminiscent of the yellowish-greenish tint of Regal trailers and AMC’s laser projectors.

Such is the difference between social-media parlance and moviegoer parlance.