Eliecer has written 24 reviews for films rated ★★★★★ during 2016.

  • La Madre

    La Madre


    In Histoire(s), Godard wonders, through Borges: “If a man passed through paradise in his dreams and received a flower as proof of passage, and on waking found this flower in his hands... what is there to say?"

    The memory is enough. Cinema, the memory factory.

    Seeing La madre at the recent MoMA retrospective was one of the most romantic experiences I've had in a film theater. Seeing it again at home is like remembering the face of someone who was…

  • Deep Cover

    Deep Cover


    "The jungle creed says that the strongest feed on any prey it can. I was branded beast at every feast before I ever became a man."

  • The Spook Who Sat by the Door

    The Spook Who Sat by the Door


    Sold to United Artists as "the usual" blaxploitation fare. Pulled from theaters by the FBI because of radical politics.

  • Horse Money

    Horse Money


    To begin with the documentary and to give it the truth of fiction. Pedro Costa's greatest film because he has fully embraced this.

    A film with no distinctive chronotope; in it space and time are muddled in order to resemble a cinematic dream (or nightmare) where Ventura, the main character and a victim of Portuguese colonization, relives the Carnation Revolution and his colonial wound through genealogy, trauma, and memory - from a time before his birth represented by photographs and…

  • Sweet Sweetback's Baadasssss Song

    Sweet Sweetback's Baadasssss Song


    An explosion.

    As avant-garde as a Shūji Terayama film and militant like Santiago Alvarez's reels, and all done with some of the finest dissolves to be seen in the cinema. Sweet Sweetback is a destruction of Classical Hollywood's image of the black male and a denunciation of police brutality that is as relevant today. It's all enough to make one think that the Blaxploitation genre it helped spark was a Hollywood corruption of the collectivist spirit of the film (see…

  • The Hedge Theater

    The Hedge Theater


    22.7.69 The shutter in the camera is like the wings of an insect: both create movement, one in space the other in the eye. Film is not an illusion of movement, it is movement. - Robert Beavers

  • Barabbas



    Gorgeous shot compositions that do not overstay their welcome and have as much right to exist as the plot that drives the story. And the story is that of a man thrown into history and myth; an unrepentant realist who commends himself unto death and darkness after the absurdity of circumstances become too heavy to bear. The resignation, his only act of faith.

  • Othon



    If the Iliad is a poem of force, then Othon is likewise a film of force. Force of giving and receiving in relation with the audience, and force of the political maneuvers in Corneille's play.

    In Maurice Pialat's L'amour existe (1960), it is said that "lessons from the shadows are never inscribed on monuments" and that "the hand of glory that commands and orders can also beg. A simple change of angle is all it takes."

    Othon inscribes lessons of…

  • These Encounters of Theirs

    These Encounters of Theirs


    The light just pours out of me when I let this film wash over me.

  • History Lessons

    History Lessons


    MoMA curating, or lack thereof.

    Brecht's unfinished novel was translated and published in English for the first time this past January, and, as far as I know, it had only been available in Spanish and French translations previously. Tag Gallagher deserves a statue of some sort for his work in subtitles.

  • The Journey

    The Journey


    A political education and a realization of the ideal that closes Here and Elsewhere (1976). The Journey contains the world and the human circle (or pyramid) through newsreel, found footage, and staged footage. Dziga Vertov would be proud.

    "The others, the elsewhere of our here."

  • Lancelot of the Lake

    Lancelot of the Lake


    My favorite action film.