One of the least explored subgenres in cinema is the short-lived, radical category known as "punk film." This genre emerged in response to the rise of punk music in the late 1970s, which served as a counterpoint to the hedonistic glam of disco and dance music—a genre I also enjoy. However, punk's emergence was more than just a musical trend; it was a political reaction against the shift toward right-wing and neoliberal policies in Britain and America. Punk embraced a "DIY (Do It Yourself)" ethos that challenged the notion of expertise as an elitist barrier to creative expression. With this DIY spirit, anyone could participate and create without needing to be a skilled musician or filmmaker.

Notable examples of punk cinema include Susan Seidelman's *Smithereens* (1982), Allan Moyle's *Times Square* (1980), Julien Temple's *The Great Rock and Roll Swindle* (1980), and Gregg Araki's *The Doom Generation* (1994). However, the film that arguably stands as the "Citizen Kane" of punk cinema is Alex Cox's *Repo Man* (1984). This visionary film captured the punk ethos of early 1980s Los Angeles. *Repo Man* is smart, bizarre, hilarious, and cosmic—making it one of the standout films of the underground cinema of that decade. Join Azed and Tom as they explore this remarkable work by the often-overlooked Alex Cox.