• Past Lives

    Past Lives


    When there are more social connections than can fit a single life.

    Astonishingly well made: acting, view, moments.

  • Oppenheimer



    So Nolan really wanted us to know that Oppenheimer fucked. Note taken.

    (aka Nolan still can’t write women)

  • Barbie



    Solidly entertained. Mildly feminist.

  • TÁR



    When I left the cinema, I was left with the big question: what did this wanna tell me? That powerful white non-straight people can be just as abusive as their male straight counterparts? Mehr.

    But I kept asking myself why I enjoyed watching TÁR so much, despite’s it’s over-the-top length. And it’s the small moments. Where it diverts expectations and tropes. Where it feels too real. Where it says a lot.

    For me, that’s enough.

  • Missing



    It’s a happy moment when a guilty pleasure doesn’t make you feel much guilty. Soils for what it is.

  • Searching



    Format was interesting, but I think we’ve seen better. Was used a bit too on the nose.

    Story has its heave twists and turns.

    Tho I’m a sucker for thrillers and crime stories. We all are.

  • She Said

    She Said


    Time to write.

  • Argentina, 1985

    Argentina, 1985


    Nunca más.

  • Glass Onion

    Glass Onion


    Fun. That’s it.

  • Aftersun



    Salt touching an open wound between every breath. A tale of father and daughter. A rare one. A good one.

  • Guillermo del Toro's Pinocchio

    Guillermo del Toro's Pinocchio


    Deja vu. ANNETTE is back. 🥴

  • The Menu

    The Menu


    Compact. Concise. Unpretentious. Fun.

    It's no intellectual masterpiece, it knows that. Vibes and visuals, no lectures. I prefer it when a film is so reduced in ambition but then reaches its full potential. And is a joy to watch. I take that over half-hearted bombast that drools in its own sermon - looking at you TRIANGLE OF SADNESS, meh.

    No bread.