• Circumstantial Pleasures

    Circumstantial Pleasures

    Absolute hell. One of the most raucous collage pieces I've ever seen in my life. Unfortunately enough, this is from an artist who I've seen their work before in person and have actually admired what they've created previously. Sometimes, finding the right medium is essential to the execution of a piece. And in the case of Circumstantial Pleasures, the surface-level allegories and visual metaphors barely cuts even after the first five minutes. To re-iterate once more, this should have been an exhibition piece, not a feature. I've had it. I've fucking had it. ENOUGH.

  • The Salt of Tears

    The Salt of Tears


    A very light fantasy. An outdated one for sure, but it's also a pretty decent experiment of escapist drama. If anything, Garrel still knows how to pull off one hell of a romantic show; filled with the most abhorrent amount of french melodrama you will see on screen this year.

  • Summer of 85

    Summer of 85


    Incredibly cute and the music is an absolute vibe. I'm not sure if I'm entirely sold on the resolution, but for the most part this was a pretty lovely little flash to the past; filled with wondrous drama and tears. Thank you Ozon for bringing a little gay light into the hell hole that is 2020.

  • City Hall

    City Hall


    Documentary luminary and social activist Fredrick Wiseman — a man infamously known for his dramatically long docs regarding the human condition and the evolution of society itself — has a strange fascination with the city of Boston. His two longest features in some way or form, encapsulate the anxiety and well-versed progressive development of the renowned Massachusetts’ city. His 1989 feature Near Death is a perfect example of Wiseman’s consistent eye for humanitarian ethics and development, shot against a common…

  • The Nest

    The Nest


    A film of misconstrued gestures, all seeking absolution in the failed mythology of the American dream. The terror from within and the deconstruction of the nuclear family has never looked this sexy — thank you Jude and Carrie

  • The Last Vermeer

    The Last Vermeer


    I'm a sucker for any good court case drama, and The Last Vermeer certainly did deliver in its rather exceptionally executed third act. While the first 2/3rds massively underwhelms in comparison, what you've got at the end of the day is a suitable drama with three incredibly sexy actors at its core. Nothing entirely special, but still formidable at the end of the day.

  • Another Round

    Another Round


    An outstanding concept that's only somewhat delivered successfully. I'm a little letdown by how only 2/4 members of the friend group are actually fleshed out and have a rather compelling arc, but hey we win some and we loose some. You can't go wrong with a righteous commentary on drinking culture, and how sometimes one needs to be steadfast and openminded before taking that first sip. Anything goes with alcohol, and Vinterberg's maddening direction is on point yet again.

    And yes, my boy Mads kills it, WHAT ELSE IS NEW!?

  • Two of Us

    Two of Us


    Watched this spontaneously out of brief general interest, and lo and behold I was pleasantly surprised by a nuanced Lesbian romance! It's cute and rather heartfelt, and I'm glad that this finding a home amongst fellow LGBTQ+ cinephiles. A little conventional in its setup, but for what it accomplished with the limited setting, I'm content with the final product and how everything seamlessly came together.

  • My Dog Stupid

    My Dog Stupid


    A formidable comedy with some pretty hilarious gags sprinkled throughout. Nothing particularly exceptional, but at least the dog is pretty iconic!

  • Falling



    As a contemplative piece on familiar tolerance, I really appreciated what Mortensen attempted to accomplish here. The crass finale and the life-time esque direction doesn't do the film any favours, but at the very least Falling TRIED to accomplish something relevant and nuanced. I'd much rather have a film attempt to execute something out of its creative boundaries, then have the same old boomer shtick repeated once more.

    There's something rather touching about Falling's screenplay, and whilst the messy execution…

  • Nadia, Butterfly

    Nadia, Butterfly


    A soul-searching expedition of finding passion in the most unlikely of places. Nadia, Butterfly is a film about the search for desire after death; one that lingers across the streets of an alternate reality 2020 Tokyo, as we follow our heroine Nadia on her obscure journey of self-acceptance. It's a shame that the pandemic came along and disrupted this film's release plans, because the idea of having an Olympics set-feature released during the Tokyo Olympics is such a chad move…

  • Mogul Mowgli

    Mogul Mowgli


    Ahmed's clear dedication to authenticity should be acknowledged here for both his work as main lead and screenwriter, but something about the ultra-personal direction doesn't feel right. Heavily using aesthetics over patient execution, Mogul Mowgli at times feels like it wants to be the next revolutionary indie — a film desperately attempting to emulate the ideas and stylings of something that isn't exactly its own. It's difficult to entirely nail what really falters in Mogul Mowgli, outside of the rather sub-standard narrative and barebones character arcs. But for what it was and what it accomplished, the film was a rather mixed bag over all.