Eliecer has written 10 reviews for films rated ★★★★★ during 2014.

  • Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles

    Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles


    Andromeda unchains herself.

    Jeanne Dielman is a hero of action, but she is also a nonentity. A housewife, a subservient mother, a prostitute; a woman objectified. She is why feminism must exist.

    Jeanne Dielman, the film, is a neo-Lumière. A physical cinema (in the kinetic sense) where everything is essentially defined by action.

  • Pasolini



    A day in a life. And I cannot stress the word day enough. Ferrara has not been this tender since 'R Xmas and the editing is almost as compact as New Rose Hotel's.

    "This film isn't about Pasolini, it's about you, me, all of us as individuals who go about their lives. No one was probably more surprised about Pasolini's death than Pasolini." - Ferrara

  • Payday



    Do movies ever really get any more rock 'n' roll than this?

  • Westfront 1918

    Westfront 1918


    Among the greatest anti-war films I have seen. A film as removed from the silent film as films made today.

    If God is a shout in the street, then God is a scream on this film.

  • Artemide's Knee

    Artemide's Knee


    Devastating. There's probably no man in the world who feels more sorrow as he sits down to edit a film than Jean-Marie Straub.

  • Le Bonheur

    Le Bonheur


    Of amour fou and its selfishness.

    A horror film in part because of the way Agnès Varda does away with the myth of motherhood. Thérèse would rather die than be left with only amor matris. Are maternity and paternity legal fictions?

  • Heaven's Gate

    Heaven's Gate


    Woe to that life which promised so much and delivered so little. A Western by accident. This is the story of a man's life in three chapters: enthusiasm, absurdity, and regret. For me, the masterpiece of Hollywood's genuine heir to Josef von Sternberg's film aesthetics.

  • The Trial

    The Trial


    In 1975, several Japanese audiences were given hammers and nails to use on the last sequence of this short. Screens were damaged.

  • History Lessons

    History Lessons


    The end of history. Analog and digital recordings have forced history to produce its own history, thus turn it into a very mortal thing: like a person who lives and passes. There’s no longer a writer and myth in between. History Lessons shows this loss and conflict ruthlessly.

  • Edvard Munch

    Edvard Munch

    Presentness through diegetic gazes that challenge cinema's panopticon: the viewer's gaze. A revelation. Like having the sun on my forehead.

    “Amor Matris, subjective and objective genitive, may be the only true thing in life.” By repeating the images of her dying in her deathbed, Watkins achieves the cinematic evocation of episodic memory; phantasmagorical and mesmeric. That and other repetitions capture Munch’s soul, the stream of his consciousness in a cinematic sense. "Her face is too far away," but Edvard Munch might be cinema’s Stephen Dedalus. This is the most magnificent film I have ever seen, and one to which I return again and again.