Vibrant, explosive, self destructive, plagued with life but also threatened by a shadow of death that is constantly creeping over the horizon. Collard's tactile device somehow renders the entire experience even more personal and felt, and his narcisism unexpectedly helps the film's more complex moral imbroglios, making it go beyond its descriptive immorality while also escaping the usual self-complacent "mea culpa" that could derive from such an exercise. There is simply a lot of life, a lot of movement, a…
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Running on Empty 1988
Playing Brahms on soundless pianos, running backwards to your roots. Carrying all the beautiful and all the crooked heritage of your parents, a film on the idea of transmission through love and beyond it. I loved the calm and humble touch of the film’s form, and also the spontaneity of the performers - especially Phoenix, and how his character holds people he loves in his arms in a way that feels so vulnerable yet so evasive.
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Where Is the Friend's House? 1987
one of the most diligent films ever made, a painstaking coming of age odyssey with an incredibly expansive symbology: everything here is absolutely essential, a boy whose back hurts because he needs to help his father by carrying milk, some brownish red pants, a gust of wind in the backyard, the windows' reflex on the walls... it's all very potent, these signs aren't there for mere narrative development, they address a much bigger spectrum where politics, economics and metaphysics collide.…
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Elvis 2022
Maximalism as utter ineptitude. The most stupid and outrageously disjointed product of our era’s schizophrenic zeitgeist, and a very apt representation of this hollow cultural abundance of formal stimuli, spiced up with a notion of rhythm and speed that could not be more manipulative and misguided. A film made for times of TikTok, Instagram and publicity, for people with a 30 second attention span who never actually felt an image in their lives, going by drenched with information and deprived…
