Eliecer has written 44 reviews for films during 2016.

  • La Madre

    La Madre

    ★★★★★

    In Histoire(s), Godard wonders, through Borges: “If a man passed through paradise in his dreams and received a flower as proof of passage, and on waking found this flower in his hands... what is there to say?"

    The memory is enough. Cinema, the memory factory.

    Seeing La madre at the recent MoMA retrospective was one of the most romantic experiences I've had in a film theater. Seeing it again at home is like remembering the face of someone who was…

  • Où en êtes-vous, Jean-Marie Straub?

    Où en êtes-vous, Jean-Marie Straub?

    ★★★

    Straub takes part in the cat videos simulacra. Maybe we are like Ancient Egyptians after all and now it is easier to embalm our cats.

  • The Glass Shield

    The Glass Shield

    ★★

    Michael Boyce Gillespie thinks this is a bad film and I agree with him. That courtroom scene has more cuts than a Fast and The Furious car chase. Worst Burnett film I have seen.

  • Hasta la victoria siempre

    Hasta la victoria siempre

    ★★★★

    Came to say
    Let’s all pray
    Hooray, Hooray

    Oh Che

    He's wearing a red star
    Smoking his cigar
    And when he died
    The whole world lied
    They said he was a saint
    But I know that he ain’t

    Oh Che
    Oh Che
    Oh Che
    Oh Che
    Oh Che
    Oh Che
    Oh Che
    Oh Che

    He just wanted to make the world a better place for you and me to live

    Oh Che
    Oh Che
    Oh Che

    Oh Lord, you gotta help me now to find my way
    Oh Che

    - Suicide & Spacemen 3

  • Deep Cover

    Deep Cover

    ★★★★★

    "The jungle creed says that the strongest feed on any prey it can. I was branded beast at every feast before I ever became a man."

  • The Janitor

    The Janitor

    ★★★★

    In pace with the vanguard with We Can't Go Home Again (1973), The Janitor is Nicholas Ray's metaphorical and bitter self representation in short film form. The figureheads of Cahiers and worshipers of the cult of the artist are the ones going down on Ray in the short. Ray, the marginalized filmmaker of the 70s and deposed figure of the classic period. Ray, the janitor.

  • Chameleon Street

    Chameleon Street

    ★★★★

    So it turns out that mumblecore is reactionary cinema. Alex Ross Perry in particular ought to be paying royalties and damages to Wendell B. Harris Jr.

  • The Spook Who Sat by the Door

    The Spook Who Sat by the Door

    ★★★★★

    Sold to United Artists as "the usual" blaxploitation fare. Pulled from theaters by the FBI because of radical politics.

  • Horse Money

    Horse Money

    ★★★★★

    To begin with the documentary and to give it the truth of fiction. Pedro Costa's greatest film because he has fully embraced this.

    A film with no distinctive chronotope; in it space and time are muddled in order to resemble a cinematic dream (or nightmare) where Ventura, the main character and a victim of Portuguese colonization, relives the Carnation Revolution and his colonial wound through genealogy, trauma, and memory - from a time before his birth represented by photographs and…

  • Sweet Sweetback's Baadasssss Song

    Sweet Sweetback's Baadasssss Song

    ★★★★★

    An explosion.

    As avant-garde as a Shūji Terayama film and militant like Santiago Alvarez's reels, and all done with some of the finest dissolves to be seen in the cinema. Sweet Sweetback is a destruction of Classical Hollywood's image of the black male and a denunciation of police brutality that is as relevant today. It's all enough to make one think that the Blaxploitation genre it helped spark was a Hollywood corruption of the collectivist spirit of the film (see…

  • Tabu

    Tabu

    ★★

    A doomed love story told in flashback and whose chronotope is a Portuguese colony and the tensions of the era that would ultimately lead to the revolution of 1974. But these are merely backdrops for a higher concern: that romanticizing neo-colonialism is all right if you are doing one for the altar of b&w expressionism.

  • D'Annunzio's Cave

    D'Annunzio's Cave

    ★★★★

    Spectral dissonance.

    "In technological modernity, we can track an ongoing sense of being haunted—by language, images, commodities, bodies. And yet it’s increasingly easy to feel, especially if one has a seat at the table, untroubled, fleshed, streamlined—all crispness, fluency, and versatility. However, it’s also very easy to feel—this especially if one does not have a seat at the table—like a zombie or an animal (I would say “ghost” but ghosts sometimes speak)." - Robert Fernandez