• Memoria

    Memoria

    ★★★★

    the sound. the thing that isolates, that is inexplicable and imperceptible to all except to the self, is secretly the thing that binds one overwhelming to the collective. mesmerising, even jaw-dropping in its climax, reaching an intensity through sound despite an immovable camera. i can't think of a film whose sound design left such an impression on me. i love weerasethakul's playful, quietly expansive style so much and to have experienced his sensorial world in a theater once again is such a blessing.

  • After Yang

    After Yang

    ★★★★

    i adored this. really love kogonada and to see him extending his quiet humanism into sci-fi is awe-inspiring. unsurprisingly gorgeous and moving. and they got mitski out here covering that song from lily chou chou? amazing

  • Drive My Car

    Drive My Car

    ★★★★★

    adored it from start to finish. gentle and understated, quietly metaphysical with so much of the film comprising the stories characters tell one another. not for the sake of the stories themselves, but the lives off of which they tesselate, what they represent for each individual, the conduits they serve as between characters.

  • Zola

    Zola

    you know the semester is bad when it takes six weeks to watch my first film of the year

  • The Power of the Dog

    The Power of the Dog

    ★★★★

    So so good. Loved the subtly shifting power plays and the fascinating ways Campion's direction captures the parameters of Phil's psychology. Especially loved his covering himself in mud and bathing in the water.

  • The French Dispatch

    The French Dispatch

    ★★★★

    "Maybe one day we'll find out what alluded us back home."

    No better way to celebrate finishing my last midterm. Of course with Wes Anderson there's bound to be some parts more/less frivolous than others, but undoubtedly full of heart and rather poignant. Charming and fun and very warm.

    A monochrome article occasionally coming to life in colour, food inspiring the sensation of a swirling camera, reality so bizarre it could only be expressed with a comic strip. "There's no…

  • Titane

    Titane

    pure escapism on a thursday night. one of few movies to truly push my perception of what the human body is capable of. an intensely physical, visceral film, and not only in a violent way — the first thirty minutes, the bizarreness of the characters could not prepare me for how sweet this would be. absurd, intense, transcendental.

  • Shang-Chi and the Legend of the Ten Rings
  • The White Tiger

    The White Tiger

    ★★★★

    I studied Aravind Adiga's The White Tiger in a high school literature class and have always admired its singularity. This is as faithful as an adaptation of it gets, though at times perhaps too faithful especially with respect to storytelling – knowing that Ramin Bahrani was friends with Adiga for 30 years makes this adaptation special, and perhaps contextualises that faithfulness. Adarsh Gourav is the real star here, and is perhaps part of the reason I found Balram more empathetic…

  • The White Ribbon

    The White Ribbon

    ★★★★★

    Part of what makes Michael Haneke's penchant for problems without an inkling of a solution not only forgivable, but remarkable as well is the restraint with which he unravels those problems. His films are so austere in their revelation of violence that a viewer's emotional response is only ever bubbling beneath the surface, the closest thing to payoff being the slow release of the interim time between unfortunate events. That release is never completed, lingering long after the credits roll,…

  • All About Lily Chou-Chou

    All About Lily Chou-Chou

    ★★★★

    Like "A Brighter Summer Day" but with teenage angst resounded not through Elvis vinyls, but with stolen CDs, internet forums, camcorders – the motifs in the film, both in story and presentation, signal an even crueler, even more tragic coming of age.

  • The Sacrifice

    The Sacrifice

    ★★★★★

    "The Sacrifice" begins with a parable passed down from a father to a son about a monk who waters a tree daily, eventually nursing it not just back to life, but to bloom. It is the kernel of the philosophy of the film to come, that an earnest action done repeatedly by a single person can change the world. Alexander's actions over the course of the film reflect a haphazard attempt at latching on to the edges of that kernel,…