Let's get this out of the way first. Ben Affleck is a good director. While The Town and Gone Baby Gone weren't perfect, they built on Affleck's firm understanding of Boston life and class politics, making those simmering tensions acces...
2024-01-18 21:56:57 +0000 UTC View Post
BY REQUEST: Morris Yang
Pascal Plante's last film, Nadia, Butterfly, had an odd fate. Not only was it "selected" for the nonexistent 2020 Cannes Film Festival. Its entire premise was scuttled by Covid, since it was about ...
2024-01-18 01:55:09 +0000 UTC View Post
Covering some of the same ground of Sophie Fiennes' 2010 documentary Over Your Cities Grass Will Grow, Wenders' film wisely adopts a less instructional, more experiential approach to Anselm Kiefer's artwork. Over Your Cities mostly foc...
2024-01-15 20:25:32 +0000 UTC View Post
Judging from the widespread disapproval A Brighter Tomorrow elicited at Cannes, it is getting harder for viewers to distinguish between Nanni Moretti, the writer-director, and Giovanni, the grumpy character he so often plays. Here, he plays an ...
2024-01-14 23:37:12 +0000 UTC View Post
BY REQUEST: Imperial Hean
First things first: I am woefully under-informed about de Toth as a filmmaker. This is only the second film of his I've seen, the other one being his 3D House of Wax. So I have a lot of catching ...
2024-01-13 03:51:30 +0000 UTC View Post
I'm not a huge fan of writer Dan Kois, but sometimes you've got to give the devil his due. In the first ten minutes of Ferrari 2024-01-12 20:35:21 +0000 UTC View Post
Of course it's a bit awkward, like showing up to the gala wearing the same dress. Robichaud's third feature follows just a year after Todd Field's TÁR, essentially making it "the other lesbian symphony conductor movie." And while there's quite...
2024-01-12 05:58:30 +0000 UTC View Post
It may not be quite fair to say Kore-eda is in his flop era. After all, many quite appreciated his Palme d'Or winning Shoplifters much more than I did, and I've certainly missed a few of his films along the way (most notably his thriller Th...
2024-01-08 22:23:57 +0000 UTC View Post
Yesterday the National Society of Film Critics (of which I'm a member) voted Past Lives the best film of 2023. Embarrassingly, I had not seen it, although I intended to catch up with it. Now, having seen the film, I'm just confused. Song is a p...
2024-01-07 23:32:57 +0000 UTC View Post
All art criticism is unavoidably subjective. And in some ways, I wish that weren't the case. Like anyone who strives to be a critic, I have certain criteria for what I think an effective film should do. And if I stick to those, I can form a fairly compe...
2024-01-07 22:52:31 +0000 UTC View Post
Okay, so since only one of the last three "winners" provided a film request, we'll just move along. (Thanks to Robert Davis for serving up Putney Swope.)
So here come the next contestants!
#64 - IMPERIAL HEAN*
At last year's Berlinale, several competition titles were quite well received, including but not limited to Past Lives, Afire, Music, Suzume, The Shadowless Tower, and BlackBerry. But the Golden Bear...
2024-01-06 05:02:01 +0000 UTC View Post
Given my ambivalence about the place of the essay-film / video-essay in the current avant-garde landscape, it seemed like I should learn more about the history of the form and some of its more well-regarded applications. Various academics in my ambit (i...
2024-01-06 03:53:34 +0000 UTC View Post
Close Your Eyes (Víctor Erice, 2023)
About twenty years ago, academic studies of both Theo Angelopoulos and Alexander Kluge were published with the same subtitle: "the last modernist." But based on the hopeful, elegaic Close ...
2024-01-02 21:31:01 +0000 UTC View Post
Happy New Year, friends! Let's make it a good one without any tears, etc. I fell a bit behind on write-ups, so these may be a bit shorter than usual. No, really. I mean it.
2024-01-02 03:08:48 +0000 UTC
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As we say goodbye to a very difficult 2023, I wanted to look back at some of the experimental films and videos from this year that inspired, entertained, and challenged me in the course of my viewing. Some of these films I've written about, some multiple times. Others fell through the cracks as I dealt with other assignments. But all of them sug...
2024-01-01 01:50:34 +0000 UTC View PostDavid and Abner, you still have the chance to contact me with your Lottery requests. If I don’t hear from you by the end of the first week in January, I will draw other subscribers’ names. But no pressure. 🤷🏽♀️
2023-12-29 06:56:11 +0000 UTC View Post
The Taste of Things (Tran Anh Hung, 2023)
Perfectly inoffensive middlebrow material, somewhat elevated by directorial flair. In its broadest outline, The Taste of Things combines some key themes from both The Remains ...
2023-12-27 06:45:37 +0000 UTC View Post
Trenque Lauquen (Laura Citarella, 2022)
I've learned over the years that it's quite possible for a film to do everything "right" and still leave me cold. As was the case with La Flor by Citarella's colleague Mariano Llin...
2023-12-24 00:55:28 +0000 UTC View Post
The films of Damon Packard are an acquired taste, to put it mildly. Although he is far too sophisticated to be relegated to the "outsider art" category, Packard does display a maniacal, self-contained DIY approach and an aesthetic defined by a view of c...
2023-12-22 03:49:47 +0000 UTC View Post
Memory (Michel Franco, 2023)
The last thing I want to do is oversell Memory, since it is a relatively modest film and one that probably suffers under close scrutiny. One of its two main protagonists, Saul (Peter Saarsgard...
2023-12-21 21:38:52 +0000 UTC View Post
La Chimera (Alice Rohrwacher, 2023)
Usually my opinion of a film is fairly consistent throughout, but with La Chimera, I found my response to it kind of yo-yoing between grudging admiration and genuine thrill. This respon...
2023-12-16 22:12:33 +0000 UTC View Post
Yes, yes, it's that time again. Final grades are finally submitted, the lights are up along the eaves and in the yard (see above), and it's a mad dash to the end of the year, trying to jam three festivals' worth of Serious Viewing into a couple of weeks...
2023-12-14 04:02:58 +0000 UTC View Post
As is often the case with Todd Haynes' films, May December is organized according to a very specific conceptual matrix. Haynes is not a filmmaker who discovers the meaning of his films along the way, but creates them as sort of Platonic models ...
2023-12-08 04:44:33 +0000 UTC View Post
The unavoidable familiarity of Fallen Leaves, together with its mere 80-minute runtime, initially made me think that this film represented Kaurismäki on autopilot, applying his long-ago perfected style to something utterly slight. After all, t...
2023-12-04 20:17:20 +0000 UTC View Post
I went into watching The Teachers' Lounge rather naively, since I did not realize it won several majot Lola awards including Best Picture, or that it was Germany's official entry for the International Feature Oscar. I suppose I should have know...
2023-11-30 23:17:54 +0000 UTC View Post
Before going any further, I invite you to read Phil Coldiron's Cinema Scope piece on Music, which carefully explica...
2023-11-28 21:35:53 +0000 UTC View Post
BY REQUEST: Robert Davis
"Where have you been?"
"Laying back in the cut."
Ah yes, what to do about Putney Swope? It has a fairly sturdy premise but then Downey fills it in with a "Laugh-In" s...
2023-11-27 16:40:28 +0000 UTC View Post
Frybread Face and Me (Billy Luther, 2023)
While Luther's debut film is nothing if not watchable (it clocks in at a scant 82 minutes, after all), it's the sort of film that might've benefited greatly from some additional workshoppi...
2023-11-26 05:05:14 +0000 UTC View Post
It's fortuitous that this random selection is happening on (American) Thanksgiving. That's because over 300 years ago, I stole this web domain from members of the Karankawa tribe.
No seriously: because I am grateful for your support of me and my w...
2023-11-23 21:53:52 +0000 UTC View Post