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  • Hiroshima Mon Amour

    Hiroshima Mon Amour

    ★★★★

    At first, I thought that the movie was going to be about the perception and appropriation of the horrors of Hiroshima by a foreign eye, but the film - at first gradually, then suddenly and completely - takes a turn from the global and focuses on the much more personal. The shift didn't really bother me as much as its totality did. I felt like it rendered the whole setting of Japan and the documentary-style prologue irrelevant, or if not completely irrelevant, then merely too disconnected.

  • Neruda

    Neruda

    ★★★

    Could have been so good, if only the film focused more on the pursuer instead of on the pursued. Maybe even cut Neruda out entirely and only have him serve as the inspector's invisible drive and his elusive motivation.

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  • Landscape in the Mist

    Landscape in the Mist

    ★★★★½

    Desolate, decrepit, bleak, beautiful. Understated long takes, restrained performances, a touch of the surreal, great compositions and coloring straight out of a Melville film, with bright saturated reds often popping out.
    This is my first Angelopoulos film and it reminds me a lot of Tarkovsky and Tarr (which is pretty much the highest praise I can think of), so I'm excited to delve deeper into his filmography.

  • Werckmeister Harmonies

    Werckmeister Harmonies

    ★★★★★

    The prologue and the "Prince" scenes are easily two of the best I have ever seen, the score is absolutely sublime and the cinematography stunning. I could go on, but it would just be superlatives upon superlatives, so I won't bother.
    I don't often rate films with five stars, that way it gives more meaning to the films that I do, and Werckmeister Harmonies definitely deserves all five.

    And now, we'll have an explanation that simple folks like us can also understand, about immortality. All I ask is that you step with me into the boundlessness, where constancy, quietude and peace, infinite emptiness reign.