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  • Winter Light

    Winter Light


    Strangely enough, I had Jens Lekman’s song “Cold Swedish Winter” on repeat in my mind throughout the entire film. Very sobering, very soft-spoken, and fairly bleak. A fairly short but effective study in waivering faith. Everything about it felt cold and unflinching. Top notch lighting and dialogue as one would come to expect from a Bergman. Thanks for the mental soundtrack, Jens.

  • Chungking Express

    Chungking Express


    **cue ultra-smooth jazz music on top of woozy timelapse shot**
    Wong Kar-Wai’s Chunking Express is the epitome of shoegaze cinema, loads and loads of style with a loose plot to keep it held together, very French New Wave inspired, heavily soundtracked by CALIFORNIA DREAMIN. Definitely a great tribute to the mixed culture, eastern-western hodgepodge of a city that is Hongkong. Seems like it’ll be the appetizer before the main course of In The Mood For Love, I’m pumped.

  • Cooley High

    Cooley High


    This marks the 100th film I’ve seen inside the IU Cinema. 😊

  • Happy Death Day

    Happy Death Day


    It’s essentially Groundhog Day meets Scream, and I’m all for it. Loads of fun, lot of trope usage and subversion. Fans of meta-horror, I highly recommend this.

  • Casablanca



    ** 🚨 CLASSIC ALERT 🚨 **

  • The Lair of the White Worm

    The Lair of the White Worm


    Hugh Grant and Peter Capaldi versus a spooky sexy snake demon. 

    Delighted to enter this absolutely bonkers realm of filmmaking that is Ken Russell.

  • Women on the Verge of a Nervous Breakdown

    Women on the Verge of a Nervous Breakdown


    Perhaps the most Spain thing I’ve yet watched. Incredible set design and lighting, literal eye candy. Cartoon hues and Madrid vibes. Best laundry detergent commercial of all time. Best gazpacho commercial of all time. Almodovar’s screenplay ripe with his unmistakable sense of situational comedy. So wonderfully irreverent and wacky, Telemundo wishes it could be this good.

    And yes, I can confirm, there were indeed women on the verge of a nervous breakdown. Highly recommended.

  • Ginger Snaps

    Ginger Snaps


    Immense thanks to Ava for introducing us to Ginger Snaps. Not just one of the best teenage melodramas, not just one of the best werewolf movies ever, but straight up an amazing movie on all accounts. Plenty of thrills and dark comedy. Amazing, it’s all tonally consistent too. A testament to good indie filmmaking and homaging horror in all the right ways.

  • Breakfast on Pluto

    Breakfast on Pluto


    With a killer soundtrack and an even more killer performance from Cillian Murphy, Breakfast on Pluto slaps. The pacing isn’t quite ideal, but it’s not a far-cry from saying it’s the 1970s Irish transgender equivalent of Forrest Gump. It’s quite a solid fictional period piece, with eclectic editing and storytelling to match its enigmatic lead. While Jordan’s film is certainly an anachronistic product of 2005 (with a bit of kitschy CGI here and there), it’s debatably underrated and underappreciated.

  • The Texas Chain Saw Massacre

    The Texas Chain Saw Massacre


    A great way to get the blood pumping. Claustrophobic and relentless. Quite literally barebones. Avant-garde at moments. A stroke of absolute genius. The Texas Chain Saw Massacre demands to be seen.

  • Noroi: The Curse

    Noroi: The Curse


    At this current moment, Noroi is my absolute favorite found-footage film, and it does astoundingly well in balancing Japanese demon mythos within a modern-era context. By this I mean, the protagonist is quite logical in his actions and extremely consistent in his footage, maintaining a mostly non-shaky camera and really really not shying away from zooming in to analyze spectral anomalies in the frame. The protagonists’ filming within the film is juxtaposed against occasional realistic Japanese TV broadcast footage, and…

  • Psycho



    Back in high school (so weird to say 8+ years ago), I was a part of my school’s extracurricular symphony orchestra and fiddler ensemble. Every year when October rolled around, we’d begin rehearsing for a concert (the school had dubbed it “Spooktacular”), and it was sincerely some of my favorite times in orchestra. There was one Spooktacular in which we got to play an arrangement of Bernard Herrmann’s “Psycho” theme and I absolutely loved the con sordini and all-string focus…