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  • My Night at Maud's

    My Night at Maud's


    For how philosophical and long-winded Eric Rohmer can sometimes tend to be, his work is beautifully humble and fantastically human. Its patience is consistently rewarding, and for how small the story can seem, it is completely captivating to follow. Its attempts at brilliance are not hidden, but neither is the charm and charisma of Rohmer and his cast.

    La Collectionneuse, released two years prior, proved Rohmer's nearly unmatched eye for atmosphere. Every scene is carried by the place that's hinted…

  • Army of Shadows

    Army of Shadows


    While Jean-Pierre Melville has always been an incredibly mature filmmaker, his heavy iconography in the crime/gangster genre can appear to outsiders like his charisma garnered his eventual reputation. But the director who made Army of Shadows so good was always around, just not as popular as the version of the director who made Bob le Flambeur, and especially Le Samouraï. Even as far back as his earliest feature, Le Silence de la Mer, made two decades prior to Army of…

Popular reviews

  • Mirror



    Tarkovsky is a bit different from other slow cinema artists that dominate other parts of the world. Like filmmakers such as Bela Tarr and Lav Diaz, Tarkovsky holds shots for long periods of time, perhaps with more camera movement than the others, yet when Tarr and Diaz move their shots, they match the mood out of necessity. Their films are slow, so their camera movements are slow as well, makes sense, and they do it spectacularly. Tarkovsky moves his camera…

  • Marketa Lazarová

    Marketa Lazarová


    Sátántangó may be this film's only rival in terms of quality, yet they are near polar opposites, with Sátántangó achieving mood through slow, sprawling, dense story-telling, and Marketa Lazarová punching with every scene of action and dialogue; as flashy and bombastic as possible.

    Of course this is all a personal perspective, but if I were to visualize a potential "peak" of film perfection, Sátántangó and Marketa Lazarová are the only films that seemed to attempt that jump. Neither film is…