Eva has written 8 reviews for films rated ★★★★½ during 2019.

  • The Funeral

    The Funeral


    at the fringes of capitalism and the rotting core of masculinity a series of violent traumas perpetually reinscribe themselves through several generations. frigid Catholic dogmatism falls from the characters' lips throughout and yet its promises and vituperations seem a world apart from these lives of mundane and solipsistic brutality, made tangible only in the inscrutable encroachment of their own mortality. futurity is rejected at the end, but with the same violent means it was once destructively enforced, and the women are left to stitch the semblance of a life back together

  • The Devil's Rejects

    The Devil's Rejects


    "what's the matter kid? dontcha' like clowns? don't we make you laugh? aren't we fucking funny?"

    one of the great American hangout movies, raucous and gleefully uninhibited, far beyond good taste and formal acuity, not to mention anything resembling ethics (but, god, how much empathy there is in this movie). nothing else plays quite like it

  • Hatari!



    a series of impeccable minor scenes strung together with nothing but chill vibes and beautiful landscapes. strangely progressive in how it imagines this utopian cross-cultural space united by intangible codes of (paradoxically gender-neutral) masculinity and professionalism, even if its notions of everyone and everything unfamiliar to the American male are hopelessly exoticizing. surely the warmest and most pleasurable two-and-a-half hours you can spend watching very little happen

  • Simone Barbes or Virtue

    Simone Barbes or Virtue


    the erotic fantasies of men sealed away behind cheap panelling, escaping quietly but audibly while working-class women talk of the world outside as comedy and melodrama. the male gaze scorned by a pair of giant, tacky neon eyes; the vulgarity of the world met with exactly the personal vulgarity it merits. a private joke, told in a dark stretch of road just before dawn

  • Dil Se..

    Dil Se..


    revolutionary politics coiled tightly around romance like bloodstained barbed wire. love is written in torrential downpours and across inhospitable deserts, while idyllic tranquility (pastoral or respectably middle-class) signals its negation. just when the melodrama threatens to become staid, Ratnam returns the world to its most elemental (and most painful). a film made up primarily of the rising and falling of smoke and fire and dust and water. the richness of Ratnam’s blues threatens to drown an entire nation in their depths

  • Pompeii



    probably PWSA's best film: begins with an almost painterly rendering of a brutal exercise of colonial power and then ends with the permanent enshrining into futurity of a romanticized moment of liberation. appropriately, this is unabashedly popular (that is to say, proletarian) cinema, with all the gratuitous exercises in karmic justice and the relegation of actual history to the margins entailed therein. still, despite the tenuous grasp on Roman history this manages to unmask the relationship of spectacle to commerce…

  • Cruising



    Whatever danger Cruising situates as indigenous to the gay S&M scene becomes contextualized not as the result of queerness itself (Friedkin, like Demme in Silence of the Lambs, takes time to specify through dialogue that this world is clearly delineated from ‘normal’ gay life) but as a pervasive hypermasculine ethos which is the result of the internalization of fascist symbolism into the queer community, and which is reflected in the police department’s similarly masculine operations. The more immediate danger originates…

  • Exiled



    that opening scene has gotta be an all-timer