Quite poetic in the way it explores the limitations of articificial intelligence when it comes to dealing with grief and memory, and the potential for AI technology to be used as a tool for self-justification and retrospective moral absolution – or at least as a form of dangerous escape from real-world judgement and consequences. The molestation chapter got under my skin a lot more than I thought it would; although it’s sensitively done and never all that explicit, there’s also…

Cinema is back! Or at least, going to the cinema is back. Or at least, going to the cinema is back for a lucky few. This was the first film I'd seen in a cinema since Melbourne's lockdowns started in March and ended in mid-November, and so I was extremely predisposed to enjoying it. I said "cool!" out loud when a car started going backwards in the chase scene, and that's a pretty good indication of how I feel about…

Barely a movie, more like a jumble of tenuously connected scenes moving incomprehensibly backwards and forwards in time, with a tone that aims for exuberance but feels like hours of incessant high-pitched screaming. Borderline unwatchable if you're not intimately familiar with the source material – I'm not, and I think this assumes its audience is. I can't think of any other explanation for why Gerwig would go for this baffling structure. Nothing is allowed to develop naturally, every scene operates…

Unusually insightful about the ways women are conditioned to play nice and put on our people-pleasing personas even as terrible things are done to us, and about the ways anger can be misdirected when it’s too risky or destabilising to confront the underlying reason for it.

At no point did I feel unsympathetic towards the main character’s point of view, and I was pissed off about a question in the Q&A that assumed the film deliberately set out to mess…