Favorite films

  • L'Avventura
  • The Nun
  • Queen of Earth
  • Madame Rosa

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  • Le Amiche

    ★★★

  • Dante's Inferno

    ★★★

  • The Vanquished

    ★★

  • The Lady Without Camelias

    ★★★★

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  • Landscape in the Mist

    Landscape in the Mist

    ★★★★★

    It is always tough for me to articulate what I love about a film. It is comparable to attempting to explain to a lover how and why you love them, fully aware that your words will never be sufficient enough. Emotional intelligence trumps analytical intelligence. Although it defies the constraints imposed by language and reasoning, I am certain that I can only grasp some films via my own subjective experience. The best I can aim for is to compress my…

  • Contempt

    Contempt

    ★★★★★

    Contempt was one of those films that blew me away from the first frame. Godard brings forward a sort of fearlessness that no one else can. Contempt was the first commercial venture for Godard, having built a notorious reputation as a ruthless new wave director responsible for Breathless, the film accused for kickstarting the French New Wave (alongside Truffaut’s The 400 Blows). But Godard is Godard. Even with a near million-dollar budget, he faithfully sticks to his arsenal of jump-cuts, long takes,…

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  • Le Amiche

    Le Amiche

    ★★★

    Ten minutes into this film, despite the discovered attempted suicide, it nevertheless reminded me of George Cukor’s movie The Women. That may only be because of the similarity in the two films’ titles and their revolution around an affluent female milieu, but for a film that immediately precedes Il Grido, this Antonioni looks and feels dramatically like a 1940s Hollywood melodrama. In fact, compared to the previous early Antonioni films, it also resembles what could be called a Classical Hollywood auteur film,…

  • The Vanquished

    The Vanquished

    ★★

    Very interesting and extremely experimental triptych about the wayward post-war European youth and how their misdirected impulses lead to murder. Antonioni drains away character history and past social context and lets his youths live not only in the very moment, but most importantly, in the very place. It looks 100% shot on location, and a scene in the last story, where two characters strangely walk behind a storefront window advertisement for a cruise, the model-ship’s smokestack blocking our view, provides…

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  • Blue Velvet

    Blue Velvet

    ★★★★★

    One thing that strikes me while watching Blue Velvet again is that it is generally Lynch’s most accepted and acceptable movie, and yet I find it the most disturbing just because of this. Placing “Lynchian weirdness” inside a conventional narrative with conventional protagonists for me makes it all harder to accept; I think it is easier for people to write off Lynch’s unique idiosyncrasies with films like Lost Highway because of their bizarre narrative, thematic, and tonal distortions. Blue Velvet is impossible to write…

  • Irma Vep

    Irma Vep

    ★★★★★

    Easily one of my favourites and greatest films of the 1990s. A film about filmmaking with none of the grandiose hubris and introversion of most entries in that genre. Insights come not from the set but the interrelations between people. Spectacle is not in filming or in egos, but in the flux and length of a late night dinner party with one of the greatest music cues in cinema suddenly revealing a hidden choreography to the dance of people and talk,…