• Woman in the Dunes

    Woman in the Dunes

    watched this last night after shovelling six tonnes of dirt at work with a guy named Vlad who didn’t speak any English. I can’t tell which one was hornier.

  • Cha Cha Real Smooth

    Cha Cha Real Smooth

    at no point of this film did i want it to end. 

    cooper raiff is out to destroy me. shithouse came out right as i moved into university housing, and this drops a month after i graduated. 

    dakota johnson’s milf era is becoming a dangerous obsession of mine

    idk why at the halfway point i thought this wouldn’t break my heart, but ofc it did. a gentle break, one that it caresses afterwards and — while it doesn’t fix it…

  • Old Joy

    Old Joy

    reichardt is truly the master of the reaction shot where the character isn’t saying anything but the shot holds on their face just long enough that you fill in the blank in your head… and the character never says that thing either, there’s never that big moment of emotional outpouring. she just confidently lets it sit. 

    i fucking ADORE the way she makes films

  • Love

    Love

    Cinema is a form of sadism. 

    It’s difficult to understand a couple without knowing the nature of their physical desire, and how their bodies coalesce, especially one like the central relationship of Love, the dynamics of which are fuelled by nothing more than misplaced intimacy and sex as a ravenous craving, the fervour of which both experiences are left gyrating, still alive on the screen: two naked bodies lie entwined on a bed, filling the frame, the man, Murphy, and…

  • Enter the Void

    Enter the Void

    Enter the Void is Noé’s dance between a visual manifestation of ego death and a drug comedown, where everything at all moments is shimmering with all meaning; at once The Magic Theatre pursuing the mythic, heroic, archetypal, and symbolic and an overloaded retinal circus of a synaesthetic interplay with fantasies, wishes and dreams, opposites merging, images fusing, condensing, shifting, collapsing, expanding, merging, connecting; the raw "is-ness" of tuning into the cosmic television show that was once an illusory solidity becoming…

  • True Stories
  • Trouble Every Day

    Trouble Every Day

    [35mm]

    the funny thing about watching erotic films in a cinema packed with strangers is you know half the audience is wapped but no one is doing anything about it, was thinking about that at a few points tonight, what a weird sort of tension to play with as a filmmaker, and as a viewer just seeing several people shift at the same time, there’s a really tense self-consciousness that washes over the room. 

    then the ending…

  • Beau Travail

    Beau Travail

    **crazy to me that this and Apocalypse Now, are not only both “war films” but both even the same medium?? film is so wonderful, they couldn’t feel like more distant journeys into violence, yet both sparkle with their own striking intensity and weirdness… or maybe is a perfect study of the masculine vs feminine, i haven’t decided** 

    beautiful and still

    there’s so much focus on movement and bodies here it’s hard to deny the unspoken homoeroticism tugging at every shot.…

  • The Love Witch

    The Love Witch

    part porn, part soap opera, part gilmore girls episode, part technicolour horror, all vibes

  • The Master

    The Master

    [70mm]

    yes i’m gonna flex that on you.

    seeing this in a cinema, you notice how funny it is. it’s dark, it’s lofty, it’s aloof, but it’s also funny (and Dodd also points out laughter several times as being “important”). i don’t know if that means anything more than “this film is funny” but yeah, in a cinema with other people laughing, it was almost joyous. i also just think that any director who punctuates the greatest scene in modern cinema with a fart joke deserves a special kind of oscar

  • The Power of the Dog

    The Power of the Dog

    willie nelson said it best: cowboys are frequently secretly very fond of each other

  • The Batman

    The Batman

    i liked silly, angsty robert pattinson writing in his angsty little diary with his shitty toddler handwriting

    i liked collin farrel’s raging bull impersonation

    i liked all of the shots that were way too beautiful for a batman film

    i liked incel riddler and borderline incel bruce wayne 

    i liked the double nirvana needle drop 

    i liked all the silliness peeking through an actually pretty decent film (though maybe i still prefer the extremes: the gritty and grounded nolan’s and the balls-on-your-forehead-fuck-you stupidity of snyder) 


    but of course i loved zoe kravitz wowow what a woman