• Oblivion


    Dwoskin’s ability to reconcile the corporeal with the ephemeral (digital) is unmatched to this day. His unique focus on shaping, solidifying, then reshaping, liquifying, deliquescing, evaporating, and ultimately absolving body in motion via the aberrational techniques utilised through low fidelity SD video and retiming is more organic and real than anything committed to celluloid. The song of a monster is his geometry, and vice versa. The sound of a scream rendered in body. In bone. In writhing organs. To return…

  • The Hart of London

    The Hart of London

    “You have to be very careful...”

    My favourite film that I have seen from Canada, and by some distance, and a profound pain and joy to revisit, always.

  • North by Northwest

    North by Northwest

    Rewatching on BBC Two. It’s been about six years since I last saw it, and while it is far from being one of my favourite Hitch’s, it just reaffirms my love of cinema itself, reminding me why I fell in love with it in the first place, and of course, renders me in paroxysmal awe of Hitch’s mastery and craft. When it comes to cinema as art-cum-entertainment, nobody has ever come close.

  • Swans: Where Does a Body End?

    Swans: Where Does a Body End?

    First half is much more fluid and informative than the second, which despite its intention of narrativising SWANS’ post–Jarboe era, feels rather aimless and lacking in its documentation. It was a surprise to see myself in this briefly toward the end, at their last UK gig in their 2010-17 iteration. This project was clearly a labour of love, but a documentary on SWANS – of all bands – should be far more compelling than this ultimately is.

  • Ursula


    In dreams.

  • The Fall

    The Fall

    Heironymus Bosch + 4-Hydroxy-N,N-dimethyltryptamine.

    Harmony in dissonance, renewal in aberration. A minimalist-maximalist self-perpetuating merry-go-round of floral, faunal, and cosmological terror.

  • My Brain is Screaming to Rest

    My Brain is Screaming to Rest

    A brilliantly visceral piece of work, magically imagic, layers upon layers, ladders becomes snakes, and the snakes were ladders all along, you see? And the sound only further coils around all those things. Finite tightly and infinite brightly. And darkness sings its own song too. Always. And I’m very touched to be mentioned in its making and visitation.

  • In this lingering Twilight Sparkle.

    In this lingering Twilight Sparkle.

    There’s something about this... I can't put my finger on it.
    This is the kind of thing I would presume I would take a strong disliking to, but somehow I'm beguiled by it's looseness and eeriness in its paradoxical non-art approach.

    Cinema concrète.
    Hauntological bastards abound.

    The monologue at the end is special. Rupert Spira meets Beckett's The Unnamable meets Artaud... and some kind of Lovecraftian shadow lies beneath, outside.

    Very interesting piece of work.

  • Sangha


    Kyle understands filmmaking better than most, because he doesn’t think it; he feels it. What I find most admirable about his work of the last few years is how much experimentation — both image and sonics — are interweaved into his work, yet with such subtlety. It’s something very few filmmakers have any idea, concern or craft for: subtlety.

  • Materia Obscura

    Materia Obscura

    “I am in the future... I know nothing of what was before.”
    “This future to be dissolved.” — Robert Pinget

  • Liberté


    Albert Serra’s latest, Liberté is the first film I have seen in quite some time, and the first film in a much longer time that I have truly been anticipating. It didn’t disappoint. 

    The film’s scenes do not evade real-time or linear time between each cut in the same way that most cuts in films do. Instead, each subsequent scene seems to continue almost precisely - yet abstractly - where the previous left off, only voyeuristically focusing on a different…

  • Sleep Has Her House

    Sleep Has Her House

    For anybody who wishes to see Sleep Has Her House (or wants to simply own a copy) it can now be purchased as a Blu-Ray quality digital file (16GB) from my website: https://scottbarley.com/store