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  • Out 1: Spectre

    Out 1: Spectre

    ★★★★★

    takes the spectacle out of noli ma tangere and crushes the entire thing into a single dense amalgamation of plots, cut into each other at what seems random at first, but rivette never leaves anything up to chance, he just makes it seem like he does. while marie closes the 13 hour game with her gaze gliding across the screen as if to turn over the last page of the book, colin closes this one reaffirming the takeaway most of…

  • Rosa la Rose, Public Girl

    Rosa la Rose, Public Girl

    ★★★★★

    can’t stop thinking about the scene where julien takes rosa’s hands out of his pants and kisses them as she breaks down, receiving the first real act of affection, coming from a fellow daily wage labourer who understands the gravity of working with your hands; whether its to paint houses or its to successfully tame men by simply grazing their cheeks with your fingers and looking at them like you really want them. rosa breaks down, all because someone looked at her and didn’t see a machine for the first time in her life.

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  • Barbara

    Barbara

    Nina Hoss and trauma at sea

  • The Lusty Men

    The Lusty Men

    ★★★★★

    a film most foreign to me, which goes to show how deeply entrenched it is in the culture and lives of those it depicts. yet, none of it really matters as the camera closes in on arthur kennedy's face, then robert mitchum's, then back to arthur as he decides to smile and wish the latter, luck. mitchum blinks and the screen catches on fire.

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  • Lake Mungo

    Lake Mungo

    midway between twin peaks and ari aster brand elevated horror: misunderstands everything about lynch and predicts aster's self parody to a scarily accurate degree. there's moments in here that start to get under your skin and they're immediately followed up with a camera zoom into grainy footage with stock creepy noises in the background. i like twin peaks a lot still but david lynch really polluted the minds of a whole generation of directors so badly.

  • Still Processing

    Still Processing

    tbf i am personally more or less averse to it whenever a filmmaker decides to make a film about their family or personal trauma in a straightforward documentary because to me it represents the lowest possible effort put into thinking about conflating trauma with something resembling an actual film. not that its never been done before better either (see Zia Anger's My First Film) and while Sophy's willingness to bring her most vulnerable moments on screen are admirable and maybe…