David Conner

There is no need to know about presidents, wars, numbers or science. Just listen to me and you'll learn.

Favorite films

  • Freak Orlando
  • The Dark, Krystle
  • The Female Animal
  • Female Trouble

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  • X

    ★★★½

  • Spencer

    ★★★★½

  • The Feast

    ★★★½

  • A Banquet

    ★★★

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  • Faya Dayi

    Faya Dayi

    ★★★★★

    Anyone who cares about cinema — or art, or life for that matter — should see this film at their earliest opportunity. If I'm in an especially hyperbolic mood tonight, it's because this movie gave me that ineffable thrill of innovation that I haven't experienced probably since seeing Oxhide for the first time last year. A major source of this intoxicating effect is the film's total defiance of categorization. And I don't just mean in the sense that, although it's…

  • Sunday Bloody Sunday

    Sunday Bloody Sunday

    ★★★★★

    This is yet another one of those films that had been languishing on my must-see list for decades and which I only just now got around to watching. In a way, I’m glad I happened to see it in such close proximity to Matarrazzo’s Torna and Visconti’s L’Innocente because it struck me as a rather queer sort of anti-melodrama. 

    At the level of its basic plot elements, it couldn’t be more suitable for the full soap opera treatment. We start…

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  • X

    X

    ★★★½

    Now, Harold, the Church has nothing against the union of the old and the young. Each age has its own beauty. But […] I would be remiss in my duties if I did not tell you that the idea of…intercourse…the fact of your young, firm body commingling with the withered flesh, sagging breasts, and flabby buttocks…makes me…want to vomit.
    — The Priest in Harold and Maude

    The above monologue, delivered direct to camera in an unbroken medium close up, kept…

  • Spencer

    Spencer

    ★★★★½

    I’ve never been much of a fan of the auteur theory, even though it’s undeniably shaped much of my thinking and my experience of watching movies. When W. K. Wimsatt and Monroe Beardsley wrote their terrain-altering essay, “The Intentional Fallacy,” in 1946, they were speaking of literature, a medium over which the solitary author arguably has much more control than any director of film — as an intrinsically collaborative art form — could plausibly claim. Spencer was one of those…

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  • Firebird

    Firebird

    ★★★

    If you’re a gay man of a certain age, you’ve more than likely already seen this film at least dozen times before, only with different costumes and accents. Even though it’s based on a true story from Cold War-era Estonia, it won’t exactly come as stunning revelation to anyone that homophobia sucked pretty bad in that context, as it always does, everywhere. The film is more than competently executed, and it obviously had a much bigger budget at its disposal…

  • The Sandpiper

    The Sandpiper

    ★★★★½

    An utterly gripping installment of the long-running, hugely popular Liz and Dick soap opera, barely disguised as an actual movie.

    At this point, Liz had earned her reputation as a dirty home wrecker twice over. First, she busted up little apple-cheeked Debbie Reynolds’ marriage to Eddie Fisher. For that infraction, MGM forced her to play the role of a prostitute — albeit a strong-willed and sympathetic one — in Butterfield 8. Then, not even two years later, while filming Cleopatra