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  • Support the Girls

    Support the Girls


    Is Double Whammies a metaphor for Hollywood?
    It's a bar that, although tries hard to maintain its status as a "family-friendly" place, is really aimed at Men, servicing them with (violent) sports and young sexy women whose main qualifications for getting the job are physical attractiveness and their ability to appeal to their male audience. The men are mainly spectators: they are allowed to look, but not to touch. At some point, response to the complaints of one of his…

  • Dead Souls

    Dead Souls


    "Why is your film so long?"
    "Because I refuse to limit my subjects. I am compelled to capture all that they have to say."

    A cinematic conjuration, if there ever was one. Recalling the 'dead souls' of, not just the people who are present in the film, but also those who didn't survive the camps, back to existence through cinema. This is not just a test of your endurance, but as Peter Sellars put it before the screening, it's a "test of your humanity."

Popular reviews

  • Annihilation


    Another addition to the series of new films that try to integrate “art-house” aesthetics/vibe with popular cinema and and appropriate them for mass audience. The same way that Ghost Story wanted to implement Tsai+Malick into a film that’s shown in AMC and Regal, this film rips off a whole bunch of films -from Tarkovsky (both Solaris and Stalker) to recent films like Under the Skin, as well as Twin Peaks: The Return ( If I saw this correctly, the eyeless…

  • Happy End

    Happy End


    Never has a Haneke film been so self-referential: everything from The Seventh Continent and Benny’s Video to Cache and [explicitly] Amour, are referenced on some level and in some form, and this self-awareness isn’t just on a superficial level of reference to other films, but it takes the form of humor in this film, -which needless to say is extremely rare in Haneke’s cinema- it’s as if Haneke knows we can hardly be shocked anymore, that we have been far…