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  • Like Someone in Love

    Like Someone in Love

    ★★★★½

    kiarostami’s most formally excellent film. one of my favourite things about this is how the vehicle, previously in kiarostami’s work a space that facilitated expression and agency, is here just another source of suffocation and confinement in the context of tokyo’s urban sprawl. 

    with this film, kiarostami rails against the notion of human relationships as defined by transactions; marriage as a means to maximise an individual’s utility, rather than to express a genuine feeling. all of this is accentuated by…

  • La Flor

    La Flor

    ★★★★½

    Undeniably a massive achievement. Though its constituent parts are best appreciated holistically, there are individual sequences here that are among the most moving I’ve seen in years (particularly the “Dreyfuss” and “Mole” chapters of episode III, and the finale of episode IV). A colossal tribute to fiction and a labour of love to the cinematic possibilities of genre, playfully probing conventions and pushing their limits. Not entirely sure that the home stretch sticks the landing after the gargantuan metafictional self-examination…

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  • Why Don't You Play in Hell?

    Why Don't You Play in Hell?

    Three hours ago I said Love Exposure was the most movie ever made, and Sion Sono said “bitch you thought”

  • Love Exposure

    Love Exposure

    ★★★★★

    It’s up for debate whether this is the greatest movie ever made, but it’s unquestionably the most movie ever made.

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  • Steamboat Willie

    Steamboat Willie

    ★★★★

    It was funny until he started spinning the cat around by its tail. Then it was hilarious.

  • Annie

    Annie

    John Huston directed this.