• Shame



    Remember Winter Light? Bergman materializes the fisherman's war nightmare using the same Max Von Sydow to lead it. It's Bergman at his most animalistic and down-to-earth, and that means we can be free from his insufferable fear of DOOM by actually experiencing DOOM itself. Incredible filmmaking - I could never guess Bergman could film like this.

  • Paris, 13th District

    Paris, 13th District


    Who could tell that Audiard would land at the exact halfway point between Garrel and Honoré (is that even possible?)? Quite a ride.

  • Flag Day

    Flag Day

    Well, after The Last Face, the worst movie ever made in this solar system, anything becomes Citizen Kane. Two stars.

  • Bergman Island

    Bergman Island

    Not sure if it's the movie's fault, but I can't stand another metafiction about an artist that can't finish his book/film and decides that it's a good idea to include the process into the final product. This would be a nice short with the Mia K. section, probably.

    Bonus points: I love the guy that mocks Bergman's daddy issues and heavy-handed dear of the silence of God. He is just like Diane Keaton in Manhattan. Allen/Isaac thinks Mary/Diane's pretentious, but…

  • A Hero

    A Hero

    At last, Farhadi makes another movie that was not autogenerated in a plot twist creator software. Don't get me wrong: the plot twists are still in the movie, but this time they are not more important than the characters and their moral choices.

  • Black Coal, Thin Ice

    Black Coal, Thin Ice


    I love Diao's Chinese riff on noir (the detective and the femme fatale are almost too close to The Maltese Falcon), but seeing this after The Wilde Goose Lake makes me feel the lack of that urban potency here. Still great, anyway, but it's a draft of a masterpiece.

  • The Flavor of Green Tea Over Rice

    The Flavor of Green Tea Over Rice


    Initially this looks like it's going to be another Ozu movie about arranged marriage, but it's actually about living together some years after the marriage. Ozu's look into the aunt character is piercing and the movie go to some dark places, but I am not sure it earns the happy ending. I could see this aunt eaily become the estranged mother of Tokyo Twilight, Ozu's masterpiece.

  • The Bird with the Crystal Plumage

    The Bird with the Crystal Plumage


    Ok, I finally decided to explore more of Argento's filmography after HATING Suspiria, and this was a very good restart. So classy, so cool, with the right colors and framing in every single sequence. I love that Storaro was the DP of this in the same year as The Conformist, and you can see a lot of things in common in the looks of both films - even though they are totally different in every possible way.

  • Invisible Life

    Invisible Life


    Aïnouz at his most genre director, with total control of the melodrama toolbox. The format is melodrama, but the heart is still in the same place as in Futuro Beach, which is also about siblings who drift apart. It's also a perfect companion to Almodóvar's Julieta, a film about grief, about people mourning people that are not dead, in fact.

  • Moon



    Forgettable but refreshingly unpretentious. I cringe just by thinking about how Christopher Nolan would film this screenplay.

  • Elvis



    Luhrmann basically takes this musical biopic and turns it into a Moulin Rouge remake, minus the love story. Remember Harold Zidler making selling Satine to the Duke while stating the show must go on - it's the same movie, all over again, and a very personal one. Hanks is grotesque, yes, but his performance fits in the movie's feverish tone.

  • In the Name of Christ

    In the Name of Christ


    I admire its energy, but its chaotic satire doesn't add up to anything in the end?