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  • Man with a Movie Camera

    Man with a Movie Camera

    ★★★★

    Impressive, in a few ways. Technically inventive and experimental—using techniques which would later become the bread and butter of thousand of films. It also opens a window to a different era—in a propaganda way, sure; but nevertheless well wide in its scope and always shot with a loving eye, never forgetting the small details of daily life. And thirdly, it shows the beginnings of self-reflexivity in film—which would later become a question of reality and truth in cinema. It succeeds…

  • Whatever Works

    Whatever Works

    ★★½

    Standard fare for a Woody Allen film, yet, despite being funny at times, it doesn't really manage to create people, which consequently makes everything fall rather flat. At times it feels as if stereotypes are talking to each other, instead of round human beings; conversations don't ring true, thus subverting all the interplay that there is between these very distinct viewpoints—which there is, handled in a usual Allen'esque way which really, is what saves the film from being a complete…

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  • Strange Circus

    Strange Circus

    ★★★½

    Hauntingly poetic—at times, that is. The two first acts are beautifully intertwined; evoking, through its cinematography and use of music; disturbing, through its meandering, dark tale and story. Perplexing at times? definitely, yet that wouldn't halt the faint blooming of certain taboo themes revolving family's darkest sides; even if it were just that, faint stipples in the background, slowly finding their way to fully blossom in the third act—whose resolve was necessary.

    That... doesn't really happen though. Sadly, this act…

  • Amadeus

    Amadeus

    ★★★★

    Amadeus is a difficult film, not for the audience, nor for Mozart; but for Salieri. It's hard because he has to win the audience's sympathy for this is his tale, but the film's not in his favor, and will never be. Because, we, are with Mozart, not him. And whatever he seems to do won't change this fact. Once Salieri acknowledges this, what is he to do? what to do when your tale is against you? what other choice does…