Eva has written 43 reviews for films with no rating during 2019.

  • Ghosts of Mars

    Ghosts of Mars

    somehow exists in close proximity to Carpenter’s most outre/avant-garde formalist experiments (note the repetition of scenes from new perspectives, the anti-realist vfx/sfx, the use of highly conspicuous cuts to rupture the ordinary flow of time and the continuity of space) and yet remains entirely circumscribed within his classical preoccupations. essentially a classic western filtered through the structure and techniques of a different genre (the horror film, of course), but, in this highly academic exercise in generic conflict, Carpenter still finds…

  • Ishtar


    This is fantastic? Elaine May understands better than any other director the peculiarly American kind of idiocy that allows one to fail so spectacularly, so colossally that you become an accidental arms dealer, CIA dupe, communist insurrectionary, and prophet of a new religion of incompetence all at once.

    "Look at the upside: we're not leading lives of quiet desperation."

  • Hotel Monterey

    Hotel Monterey

    far too structurally haphazard and overlong for a film that’s essentially the black lodge doppelganger of News From Home, but, of course, since this is Akerman there’s still so much good shit going on here.

  • Bound for the Fields, the Mountains, and the Seacoast

    Bound for the Fields, the Mountains, and the Seacoast

    tempted to claim this as Obayashi’s best, as politically conscious as his filmmaking has ever been (while he’s always been interested in the lingering traumas of WWII and regressive nostalgia, there’s a certain tendency in his oeuvre to avoid confronting questions of imperialism+fascism directly and instead to rely on affective understandings of those subjects). of course those strong emotions are also at play here, but they’re tempered by a newfound political acuity: the best example i can think of is…

  • Peking Opera Blues

    Peking Opera Blues

    plays kinda like Celine and Julie Go Boating refracted through Tsui’s particular brand of anarchic action-comedy and with a more integral sense of history, what with its vision of the theatre as a space of symbolic political + gender transgression which is nevertheless materially regressive, and the eventual transformation of that space upon the intrusion of genuinely revolutionary politics and liberated women. certainly doesn’t hurt, either, that this features some of tsui’s most elegant slapstick and action (that penultimate scene,…

  • Day of the Dead

    Day of the Dead

    “this is a great big 14 mile tombstone with an epitaph on it that nobody [is] gonna bother to read”

    an anti-eulogy for America, boiled down to its bare bones in the form of the military and the amoral scientific apparatus attached to it. not so much “what if we’re the real monsters” as “monsters were always visions of us at what we believe to be our worst, and by destroying them (cinematically or practically) we attempt an impossible moral…

  • The Hole

    The Hole

    interesting to watch this after The Wayward Cloud, since the pop interludes here effect a considerably less drastic change on the mise-en-scene and work in a generally more ironic mode, whereas with The Wayward Cloud, perhaps because of that film’s decidedly less anomic milieu, the musical elements seemed to operate (mostly) in an almost emotionally direct register. the simplicity of the basic premise here is also quite compelling, the notion of crumbling infrastructure producing some fragmentary, imperfect connection between persons matching Tsai’s frames for both spareness and beauty.

    Alone together, in the dark
    come the carefree days of spring
    Why do they never part?

  • Southland Tales

    Southland Tales

    "We are a bisexual nation living in denial, all because of a bunch of nerds."

    "I'm fucking a very large and important man."

    "You need to become a racist cop."

    "I think I'm gonna rollerblade home now."

    "Once you get on the bang bus, you can never get off."

    "If you don't let me suck your dick, I'm gonna kill myself."

    "I'm a pimp, and pimps. don't. commit. suicide."

    Watching this movie has made my brain incredibly big and powerful. I wrote actual things about it here: medium.com/@azinck2000/notes-on-southland-tales-246dd17b04d1

  • Glass


    Will you stay with me in the light for a little while?

  • Céline and Julie Go Boating

    Céline and Julie Go Boating

    solidarity among girls explodes the bourgeois family melodrama, with all its stifling (and eventually murderous) rigidity, from the inside. every fragment of Western classical and popular culture-mythology, fairy tale, mysticism, stage magic, theatre, poetry, television, the list goes on-becomes nothing more than another doll for Celine and Julie's endless free-associative play.

    "but then, the next morning..."

  • Sada


    Obayashi struggles against the deadening effects of narrativization with all his might: emotions burst forth, breaking the shell of historical fact and transforming into some of his most lushly composed and expressive images. truth can only be extracted in the form of sensations felt, while facticity becomes an obfuscating and defamiliarizing force. a major work.

  • Eaten Alive

    Eaten Alive

    in which the murder of a sex worker stains the entire world blood-red, and the Nazi flag sits only a few feet away from its American counterpart. genre filmmaking at its most abrasive and electric.