Eliecer has written 19 reviews for films during 2015.

  • Afrique 50

    Afrique 50


    Immediate inclination is to compare the images to segments from India: Matri Bhumi, with the same narrator that sees wrong and dreams about how it ought to be. But whereas India allows for myth, Afrique 50 is a sober and necessary protest.

  • Message of Greetings: Prix suisse / My Thanks / Dead or Alive

    Message of Greetings: Prix suisse / My Thanks / Dead or Alive


    Godard's best film in years. He again speaks in paratexts, only this time in slapstick fashion. Godard the performer is massively overlooked by critics. His self-fulfilling crisis on the end of cinema and communication truly started in JLG/JLG (1995), but it has never been as eloquent as the shrieking and stumbling in Prix suisse because them bones are giving out.

  • Grass Labyrinth

    Grass Labyrinth


    Terayama's most melancholic work. A young man passes through hell and paradise in his dreams and receives the memory of a children’s lullaby as proof of passage.

    Listening hard
    For the voice of a child
    I thought I heard an alarm bell ringing
    Pulled from my sleep
    By invisible hands
    The gentle sound of a lady singing
    ” – The Chameleons

  • The Trial

    The Trial


    A film of blatant phallocentric metaphors and a criticism of Japanese society.

    In one important shot, a military man (what military?) like the black widow before him, pulls out nails in an attempt to desexualize the male, who, as symbolized in the previous shot, has degraded to a voyeur. But his efforts are apparently useless because the young man continues to stumble with the heaviness of his damaged phallus. The fade to white (as in Grass Labyrinth, where it signifies a lost childhood) was meant to invite audiences to hammer nails into screens with a mournful rock song by J. A. Seazer serving as soundtrack.

  • In Jackson Heights

    In Jackson Heights


    I make a cameo at approximately 1 hour and 52 minutes.

  • Sepio



    Along with Traces of Smoke (1992), Sepio constitutes one of the finest dedications to absence and memory that I’ve ever seen. Not even the latter half of Vertigo is weighted with more longing. Sepio constantly omits her face, Traces of Smoke limits her presence to hearsay: who is that? who is who? ...until she draws herself. In Sepio, we are manipulated into longing to see her face again while she remembers her beloved.

    In cinematics it might be considered oppressive…

  • From the Notebook of...

    From the Notebook of...


    Ideally, film theory essays would be images in motion as well. Preferably as magnificent as this one.

  • New Rose Hotel

    New Rose Hotel


    Ferrara’s most remarkable film because of its incompleteness, which due to the nature of the medium (in dissolves, cuts, ellipses), is a totality by omission. That Sandii is Pandora armed not with a box but a computer disc is an afterthought. What is truly disconcerting is the fusion between dream, memory, and video recording that permeates throughout the film. X’s recollections during the latter half of the film in particular constitute a cinematic stream of consciousness that I’ve only encountered…

  • Jackals and Arabs

    Jackals and Arabs


    The Arab says: And how they hate us! (with faint sounds of cosmopolitan Paris in the background)

  • Golden Eighties

    Golden Eighties


    A sort of sequel to Toute une nuit. On that film everyone was rushing to make their own love happen. Here everyone is caught in absurd and cynical love triangles. But Golden Eighties aka Window Shopping is a musical after all and the songs make everything bittersweet and silly. Toute une nuit’s austerity is contradicted, and unlike that film almost every shot here begins with an action that was already in progress. Both films are very rigorous in the kinetic…

  • Edvard Munch

    Edvard Munch


    "Sex created the brain, says Przybyszewski, but between them there will always be a constant fight that will inevitably lead to death and destruction."

    "And suddenly something opened and we could see far, far into heaven, and saw angels float, quietly smiling."

    And so continues the conflict between human nobility and animal instinct. The recollection of this film always offers me so much.

  • Beaubourg, centre d'art et de culture

    Beaubourg, centre d'art et de culture


    “It is as if Rossellini himself takes the spectator by the
    hand to show him the building.”
    – Néstor Almendros

    Rossellini’s last film is an exercise on camera movements and zooms. Ever true to his humanistic approach, Rossellini emphasizes the truism that art is a human development, whereas a lesser artist would have claimed cinéma vérité.