• Sherlock, Jr.

    Sherlock, Jr.

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    PERFECT love letter to/encapsulation of the enchantment of the cinema by way of setpiece after setpiece after setpiece of immaculately staged, totally enrapturing controlled chaos. Absolutely floored me; when they talk about "movie magic" this is exactly what they mean.

  • The 400 Blows

    The 400 Blows

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    The pure bliss of watching something everyone says is a classic and also getting to say β€œoh yeah… this is a classic”

  • Pasolini

    Pasolini

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    Really affecting portrait of/tribute to Pasolini by another wildly iconoclastic Italian filmmaker that takes the strange, hypnotic form of deliberately menial and opaque moments from the artist's day-to-day life peppered in alongside lengthy fantasy sequences envisioning his post-Salo creative projects that would never come to fruition, all contained within a bleak, mournfully paced dirge through the final days of his life that seems to suggest a personal and political apocalypse. Everything is slow, doom-laden, dark and sepia-toned; the centerpiece of…

  • Irma Vep

    Irma Vep

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    movies take me so far away. but love brings me back to you.Β 

    Playful, meta, candid, redundant, messy, exuberant, ultimately sort of life affirming expansion on Irma VepΒ (β€˜96) and Assayas’ entire life/legacy as an artist disguised as a remake. Opens on something of an honest, state-of-the-union reflection on contemporary cinema (superheroes, controversial castration, phone call after phone call, the silly exhaustion of international stardom) via its remake of a remake within a remake of a remake premise, and while it…

  • SalΓ², or the 120 Days of Sodom

    SalΓ², or the 120 Days of Sodom

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    this is what working at st*rbucks is like

  • Love Streams

    Love Streams

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    Much of Cassavetes' early, foundational work feels like filmed theatre; heavy on improvisation and character focus, rarely showy in its filmmaking or set dressing. He reckoned with that – and himself – quite literally across a pair of exceptional films about performance and artmaking (The Killing of a Chinese Bookie, Opening Night), and then set his sights elsewhere, retaining the rigorous, lively character work that defined his oeuvre as both actor and director but only as the foundation for something…

  • Arabian Nights

    Arabian Nights

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    very very torn between I love the prowess of its aesthetic beauty and the general niceness of the way it treats/depicts sex as just bliss and pleasure free of shame or stigma - for the first time in the trilogy, no less - and the loose, free-flowing, interlocking, overlapping, scattershot narratives-within-narratives feels too messy

  • Not Okay

    Not Okay

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    everyone from Bloomington behaves like this iykyk

  • The Canterbury Tales

    The Canterbury Tales

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    It’s Pasolini - you come for the twinks and gleeful promiscuity, and you stay for the raunchy, colorful vignettes of sex, lust and profanity. The reclamation of Chaucer’s stories as livelier than just simple morality lessons is really inspired, but the perversion and ick factor Pasolini leans into to achieve that feels low in a really uninspired way sometimes. Still, this ends with a minute-long, extremely graphic sequence of the devil farting priests out of his gaping red anus, so. It’s not like it’s notΒ worth watching.

  • Hopscotch

    Hopscotch

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    do not prosecute him he was literally just having fun

  • The Decameron

    The Decameron

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    Absolute masterclass in adaptation, and a perfect showcase of Pasolini as an imagemaker; here he transforms each chapter into a lively, colorful vignette rich with his singularly holy-but-profane-disgusting-but-beautiful-all-at-once imagery and the contradictions that style and imagery bring to the simple moral quandaries each story provides.

  • To Sleep with Anger

    To Sleep with Anger

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    A joke that never reaches the punchline as a dead body lies on the kitchen floor waiting for the coroner who might never come. Indelible images and performances; Burnett takes the richly human domestic drama trappings he perfected with "Killer of Sheep" and uses them as the basis for a deceptively slippery dark dramedy that observes the already present fault lines of faith vs mysticism, old vs new, family vs fraternity, and love vs temptation within an extended family unit…