Limited edition, all-region blu-ray now available to purchase HERE.

    Please note that a 3D blu-ray player and 3D TV (or 3D projector, or VR headset) are required to play it.

  • Joan of Arc

    Joan of Arc


    Still need to see DeMille's, Fleming's, Rossellini's, Preminger's, and Besson's Joan of Arc movies, but I'd be surprised if any of them have a sequence as sublime as the honour guard ceremony that occurs early on in this one, so for now I'm calling this the most beautiful of them all.

    Reviewed here.



    So much of the way I presently watch and think about avant-garde cinema was shaped by the decade-plus that I've been reading Michael Sicinski's criticism, so it was a tremendous honour and privilege that I got to have a long conversation with him about my work last month, right after PROTOTYPE's US premiere at the Houston Cinema Arts Festival (which he helped make happen). That conversation is now readable online here, published in Cinema Scope magazine (speaking of institutions that…

  • Zama



    Wrote about Zama and Martel's filmography for the new Cinema Scope...here.

    Recommend reading the book after seeing the film, as the former is so great and perfect that I'm almost positive it ruined my ability to fully appreciate the latter.

    Points to Martel for the llama, though.

  • 24 Frames

    24 Frames


    The first segment of Abbas Kiarostami’s final, posthumously completed video piece, 24 Frames, is a simple rendering of Pieter Bruegel the Elder’s 1565 painting The Hunters in the Snow. Staring, for a Cageian four-and-a-half minutes, at the familiar wintery scene—its composition exemplary of the Dutch master’s decentred, multitiered narrative designs—we witness Kiarostami’s methodical application of various animated motion effects: snow begins to fall, crows swoop across the frame, smoke billows from a chimney, and a dog pisses on a tree.…

  • Dusty Stacks of Mom: The Poster Project

    Dusty Stacks of Mom: The Poster Project


    Just a note, since I've been approached about this multiple times on both Twitter and this site (as recently as this past week): I still don't have a screener for this film, and have no idea how you can see it outside of an actual projection/performance with Mack in person. This morning, a professor at my university—who was introduced to Jodie Mack at our MDFF screening in Toronto last September—screened the full Let Your Light Shine roadshow from digital files…

  • The Dreamed Path

    The Dreamed Path


    Reviewed as part of a long piece on Angela Schanelec for Cinema Scope magazine.

    "...Schanelec evokes our desires for moving beyond reality’s uncertainties and banalities, arousing our curiosities about the totality of an experience or a character’s psychology by presenting us with narratives that elide the details, the camera angles, or the words that might deliver us to somewhere or something that is beyond the ordinary. Like Godard [and Lewis Klahr, who I should have also mentioned], Schanelec presents us…

  • Nocturama



    Review for Cinema Scope magazine.

    Didn't mention or go into the debacle that was this film's absence from every major Spring/Summer European festival, which I felt somewhat obligated to do, but I don't think it would've been worth the effort; a few years from now, that nonsense ought to be long forgotten—a trivial footnote supplanted by the high virtues of the movie itself. (The last twenty minutes still give me chills, three weeks on.) That said, way more than the…

  • The Death of Louis XIV

    The Death of Louis XIV


    Went long on this in Cinema Scope magazine

    ... "Quite movingly, Louis XIV urgently records and archives the presence of a man—an actor—whose entire life has been filmed and projected as extensively as was probably possible for someone of Léaud’s generation. As much as we know about the phenomena of performance and contrived behaviour, there are facts of simply being and doing something in front of the camera that communicate magnitudes beyond whatever Serra might have instructed Léaud to do…

  • Risk



    "Risk mimics, perhaps not inadvertently, the ten-chapter structure used for Werner Herzog’s Lo and Behold: Reveries of the Connected World (unveiled at Sundance earlier this year) to deliver a far more chilling encapsulation of the unstable world that the Information Age hath wrought. Poitras moves linearly from Cablegate — where we see Assange on the phone earnestly trying get on the line with Hillary Clinton — through to Assange’s ongoing limboed existence at the Ecuadorian Embassy in London. "Cameraperson” Kirsten…

  • Elle



    "It’s a scenario that works because of, not in spite of, its surplus of contrived, thematically focused pieces at play, shooting exploitation genre elements at us from all sides, asking us to respond to the dissonance and discomfort we might feel when we see a woman getting what she wants, and getting what she wants via willful submission rather than some manufactured revenge fantasy. It’s a movie that wonders about how a predominantly Catholic culture can resist exoneration for some…

  • I, Daniel Blake

    I, Daniel Blake


    "2016 Palme d’Or winner I, Daniel Blake, which was coincidentally the very last film I saw in Cannes, is nowhere near the best thing that competed for this year’s prestigious tree branch, nor is it near the best thing its maker, Ken Loach, has ever made. That said — and I’ll let history speak (probably unkindly) for most of the other prizewinners — Daniel Blake is a solid Palme recipient, insofar as it looked for a bit like the prize…