• A Quiet Place Part II

    A Quiet Place Part II

    ★★½

    of all the post-apocalyptic cinematic universes in which i would certainly be one of the first people to die, the a quiet place cinematic universe is surely the one in which this loud bitch would perish the earliest

  • First Cow

    First Cow

    ★★★★★

    could say a lot lot lot of things but seeing this in the cinema i was so moved, just at how careful and gentle and filled with love it is, felt like a cocoon against the constant horror outside, like i could finally exhale properly or something. i was trying to hide my pretty constant slow flow of tears until the very end because i felt embarrassed but maybe i shouldn't have.

  • Cruella

    Cruella

    ★★

    finally a cinematic legacy for the jenny humphrey guerilla fashion show episode of gossip girl

  • Persona

    Persona

    ★★★★½

    like seeing the original version of every lesbian-coded erotic thriller i've ever watched, and that's a lot

  • Taboo

    Taboo

    ★★★½

    kinda like a trashier theorem, kinda like a samurai AU fanfic, wholly understandable when i realised it was from the director of merry christmas mr lawrence! i haven't really watched any samurai films before but i'm presuming they're all this gay.

  • Edvard Munch

    Edvard Munch

    ★★★★★

    after suggestions in privilege and punishment park, edvard munch tightens the connection between peter watkins and the falls-mode peter greenaway – the eyes straight down the camera, the docudrama style, the voiceover delivering devastating biographical detail in the same flat tone as calendar dates and contextual tidbits. it's also a now unbelievable example of the transgressive potential of publicly-funded television by radical artists.

    i'm not sure of the technical term for what i found most extraordinary about this film, but…

  • Freaked

    Freaked

    ★★★

    congratulations to production designer catherine hardwicke

  • The State I Am In

    The State I Am In

    ★★★★

    christian petzold's running on empty

    petzold's first feature is two origin stories in one: the start of his tricksy mastery of just-slightly-off-balance genre, and the backstory of the jaded, longing heroines that populate all his future films. the state i am in is a coming-of-age film folded in to a post-cold war political thriller; a gossamer-light teenage romance hidden in plain sight; lovers on (and begging to be off) the run.

    there's adolescent sweetness in the way faux-tough jeanne sees…

  • Eraserhead

    Eraserhead

    ★★★★½

    wanted to double bill this with a bergman because I just got to the part in the david lynch book where he says he was inspired by bergman's use of contrast and dark, dark blacks. in the lady in the radiator sections, i also saw the heavenly washes of fassbinder's veronika voss, so bright you can barely make out the edges. i hardly ever return to this cursed film but the few times i do, i get as much from it as a brand new film.

  • Through a Glass Darkly

    Through a Glass Darkly

    ★★★★½

    'it's so horrible to see your own confusion and understand it'

    bergman and harriet andersson position mental illness as an impossible in-between state – in the middle of life and suicide, hospital and home, your reality and the reality of your loved ones. you can't exist as you are, you can't fully exist in either binary state – but you're cruelly gifted a remote, clear-eyed view of your self and surroundings, understanding but not able to interfere, like a wretched god.

    'reality burst open, and i tumbled out'

  • One from the Heart

    One from the Heart

    ★★★½

    francis was right to spend so much on set design that he almost bankrupted several companies

  • Jerichow

    Jerichow

    ★★★★

    taken together, jerichow and 2007's yella are christian petzold's two pure-bred genre films, that he began melding together with 2012's barbara, and in all of his films since. yella is his mystery neo-noir, and jerichow is his straight-up romantic tragedy. here he deals with the clashing poles of love and commerce, isolation and freedom – the perfection of the form that preceded its subtle twists in phoenix and transit.

    beyond its expertly enacted thematics – and of course nina hoss,…