film-lover and film-maker
queer cinema is where it’s at
made sustained eye contact with David Lynch once
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Aguirre, the Wrath of God 1972
the one group getting stuck and dying in the eddy acts as a perfect microcosm of the entire film.
Aguirre belongs to a film tradition that i would classify as “colonial dread.” the film puts its white colonizers in a tropical setting they are entirely unfit for and yet they waltz in with a delusional confidence that logically ends in tragedy. these films depict a kind of catharsis in the failure, a feeling really emphasized by the overall dark comedic tone…
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Stop Making Sense 1984
David Byrne is the biggest silly billy.
a perfectly constructed performance captured vividly on film in a way that changed concerts forever afterward. the film builds across each song by adding instruments from just an acoustic guitar and a tape player to a full expanded band. this has brilliant form but when things get surreal with big suits and absurdist projections, the film really finds its artistic destination and thrives there. this is the modern blueprint for joyful musical experiences.
watched in IMAX at Regal City North
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Please Baby Please 2022
“twinks are always a well of inspiration.”
these were the final words from Ramona Slick (host of Rated Q) during the post-screening Q&A with actor Ryan Simpkins. it was in reference to the on-set joy of working with Harry Melling, best known for playing Dudley in the Harry Potter franchise. despite a great cast, Andrea Riseborough steals the show in every single scene. her performance alone is enigmatic enough to warrant praise for the film, but the lighting and production design and overwhelming queerness of the film really make it something special.
watched at Music Box Theatre (Rated Q)
