The outside (or inside) world, and specifically one's own personal understanding of it, steadily creeps into an Apichatpong Weerasethakul film. Weerasethakul actively channels the viewer's engagement and how one approaches one of his works in a way that (truly) feels rare even amongst "art house" filmmakers. His meditative filmmaking style acts as an open invitation; his images and sounds are meant to be strictly experienced, defined by the context in which those sights and sounds are consumed by his audience.…
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Drive My Car 2021
The camera stares outside the windows from within the confines of Yusuke's and Oto's home, dimly lit, viewing the sunset just as Oto rises from bed into frame. Her face is in shadow as she tells Yusuke a story, during sex, of a girl who frequently broke into her crush's apartment, taking souvenirs and leaving mementos to vaguely indicate and communicate her presence without confronting the person she is in love with and communicating her desires explicitly.
This simple but…
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On the Count of Three 2021
Lots of thoughts rushing through my head after this one. ON THE COUNT OF THREE is likely to be overshadowed by the phenomenal and compassionate ROTHANIEL from just last month, which marked a major personal milestone in Jerrod Carmichael's personal life, and it doesn't help that this seems to be quietly releasing into theaters and VOD 1.5 years after its Sundance premiere. Nonetheless, Carmichael's directorial debut is remarkable, a film tackling suicide and mental health that thoughtfully interrogates the intense…
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The Northman 2022
Robert Eggers's command of the cinematic medium is at fever pitch, the invigorating filmmaker clearly at his most ambitious showcasing almost every sonic and visual idea at his disposal. Every set piece maintains a hallucinatory pull, as Eggers frequently implements unbroken takes to immerse us into a raw and unforgiving landscape at once overwhelming and exhilarating. A world amplified by the pulsating sonic whirlwind of Robin Carolan's and Sebastian Gainsborough's score. A harsh landscape characterized by Jarin Blaschke's cinematography that…
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We're All Going to the World's Fair 2021
This is a film that could easily be greater than as much as less than the sum of its parts. As easily on-the-nose as it is abstract in its assessment of not only living in--and very specifically *in*--a digital/internet age but also how it feels to live in an environment that grows lonelier but noisier; how one's desire for some form of connection instead leads them to a content-driven and artificial void. Jane Schoenbrun's film is frequently thought-provoking, but it…
