There is, of course, the valid critique that Brass’s "New" era is repetitive. The fixation on the female posterior, the "tunnel" shots, and the specific camera angles can feel monotonous to the uninitiated. However, viewed as a collected body of work, this repetition transforms into a signature—a stylistic fingerprint as distinct as Hitchcock’s cameo or Tarantino’s trunk shots. The monotony becomes a ritual, a celebration of the eternal feminine.