Eliecer has written 11 reviews for films rated ★★ .

  • 13th

    13th

    ★★

    One hundred minutes without mentioning the determinant to almost everything it denounces, and that is capitalism. This is in keeping with Ava DuVernay's neoliberal ideology which has been expressed more blatantly elsewhere. Of all the talking heads interviewed only Angela Davis and Van Jones (formerly a Maoist) go beyond the limits set by its production. Davis does it by her mere presence which has long been an act of resistance and is now a triumph. Jones does it through the…

  • Glass

    Glass

    ★★

    Metanarratives.

    A not so and yet still-superhero film with the same amplified grandiloquence to boot. But in this instance, the auteur, long established as M. Night Shyamalan, precedes the auteurists in recuperating the film's aesthetics and politics. It should surprise no one that auteurism fits so well with contemporary neoliberal success narratives and Hollywood solipsism, of which this film is one example among many.

  • Nanook of the North

    Nanook of the North

    ★★

    Watch Nicholas Ray's The Savage Innocents to see Nanook (reinterpreted by Chicano Anthony Quinn) suffer the colonial wound and discover the bones on which modernity was built on.

  • Perón: actualización política y doctrinaria para la toma del poder

    Perón: actualización política y doctrinaria para la toma del poder

    ★★

    "The crowd loves strong men." - Mussolini

    "The camera looks for the new important man. In the jostling crowd, it tries to lay hold of Ion Iliescu.” – Harun Farocki, Videograms of a Revolution (1992)

    Juan Perón. To the right of Che and collaborator with right wing factions of Argentina, but somehow a subject worthy of veneration for leftists Solanas and Getino in this two-hour interview where they allow Perón (from his exile in Francoist Spain) to play the vanguardist. Peronism, the Argentine third position, always struck me as a personality cult led by opportunists. But this really puts it into perspective.

  • Nocturama

    Nocturama

    ★★

    More épater la bourgeoisie than political. And rather efficient at that, considering its director. But ultimately a useless film, apart from its value as a litmus test.

    It matters a lot who is behind the camera. If the topics remained intact and this were a film by, say Tariq Teguia, and the industry somehow allowed it the same production, exposure, and access to music rights. Then my bullshit meter wouldn't have gone off the scale as quickly.

  • I Am Not Your Negro

    I Am Not Your Negro

    ★★

    There's the portrayal and adaptation of James Baldwin and his memoir, respectively, and then there is the portrait, which is this documentary as a form. For all the prestige and seriousness the former grants to the latter, this yet another ugly reiteration of usual documentary modes in contemporary media, from its editing and typography, to the way photographs and music are used.

    I am reminded of Mark Daniels and Melvin Van Peebles' Classified X for an excellent example of a documentary that is up to the task of facing America’s history of racism as lived through one person (in that case, Melvin Van Peebles).

  • 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.

  • 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.

  • 88:88

    88:88

    ★★

    This would make a great billing with From the Notebook Of… (2000) and Field Niggas (2015) under the title Obfuscation, Rhythm, and Stillness. Or Posturing, Lucidity, and Politicization.

    This is a cinema of affected flashing screens, not of the supremacy of the cut as the director claims. A cut gives meaning and/or rhythm, here it disguises more than it does. With this film I do not have time to think, to form a thought, a memory. This is a crisis…

  • Rome '78

    Rome '78

    ★★

    Guerrilla filmmaking that plays more like a home movie than a narrative film. I would say there is something to admire in the absence of simulacrum of the past, a certain anti-representation, but the costumes say otherwise. Still, I find the immaturity and amateurism of Rome ’78 far more tolerable than the auteur affected absurdity of Eugene Green’s Le monde vivant.

    Strictly for fans of the no wave scene.

  • Reel Injun

    Reel Injun

    ★★

    Jesse Wente and Jim Jarmusch are fucking idiots.