Favorite films

  • Street Angel
  • Zeros and Ones
  • Tabula Rasa
  • Nosferatu

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  • Limbo

    ★★★½

  • Minnie the Moocher

  • Street Angel

    ★★★★½

  • Train Again

    ★★★★

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  • The House Is Black

    The House Is Black

    ★★★★½

    "Forough’s voice was the first disembodied female voice in an Iranian film. The opposite, of course, was common practice: women were bodies without voices. For Forough, however, the point wasn’t to just show bodies, not even to show just bodies, but to show bodies justly. "

    I wrote about The House is Black and the moral vision with which Forough treats bodies, predicting the accomplishments of Pedro Costa in In Vanda’s Room decades later. You can read the full piece here:

    On Bodies: The House Is Black and the Politics of Corporeal Representation(s)

  • Satantango

    Satantango

    "Tarr’s cinema at its best, as in his newly restored 1994 magnum opus, Sátántangó, transcends the notion of an observational cinema... Observation is the work of the scholar, the anthropologist, the scientist. Yet, watching a Tarr film isn’t an intellectual exercise, as much as it is a bodily exercise."

    I wrote about cinephilia and the sensory/bodily pleasures of viewing Tarr’s Sátántangó for photogénie's dossier on long films, “The Eye of Time.” You can read my piece here:
    Ways of Seeing: Sátántangó and Records of a Cinephilic Encounter

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  • Limbo

    Limbo

    ★★★½

    Survival as the only possible creative act. 

    Already sensed this at the time, but now I’m even more disappointed that I missed a screening of this film for Assault on Precinct 13 last month.

  • Street Angel

    Street Angel

    ★★★★½

    Sometimes I feel like cinema has never reached the glorious heights of the late silent era again. At least not in certain aspects

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