Drew has written 7 reviews for films with no rating during 2017.

  • Standard Time

    Standard Time

    I was not prepared for this. It's similar to <---> in that there's an incredibly stressful effect from the Snow's pummeling camera motion, occasionally revealing small but unexpected changes in the surrounding space. Here, the lateral camera motion gets balanced by the intermittent audio, which works to pull the viewer in or out. It's wonderfully immersive.

  • Primal

    Primal

    A surprise encore screening by SF Cinematheque, with Vicky Smith speaking a bit more about it. She suggested viewing the film not in the way its technique relates to Len Lye or Stan Brakhage, but in the political intentions that birthed it. I wish she'd elaborated more on those, aside from the obvious politics of any anti-illusory work, because what originally interested me about the film was how it physically occupied the screen in a way different than what Lye or Brakhage made. I think the clearest analogue for me might actually be Monkeyshines, No. 1.

  • You Don't Own Me

    You Don't Own Me

    Not really sure how the Lesley Gore revival came about, but I'm so down.

  • Primal

    Primal

    I do like the shifting form of Primal. It starts off with animation composed of small scratches on each frame, which forms something between a gash of light on the projection screen or a glowing flame. It gradually expands to reveal the texture of the scratched filmstrip and morphs into a flicker film as more of the frame pulses with light.

  • Amphetamine

    Amphetamine

    In my dreams I'll get to rewatch this with Behind Every Good Man in some sort of "queer people in private spaces, scored to the Supremes" double feature. I was expecting Sonbert's super kinetic style of editing, but he's got a lighter touch here, which helps make the earlier scenes a bit more palatable. It also sets up a pretty great cut to a moment of tenderness and intimacy, the only time I've been started when a filmmaker cut away from someone shooting up.

  • In Jackson Heights

    In Jackson Heights

    A beautiful depiction of a communities and the work that goes into building them. It's a testament to Wiseman's treatment that I felt even remotely invested in the outcome of a soccer game. It's also got one of the best illustrations of intersectionality I've ever seen.

    Definitely more VPL than I've come to expect from a Frederick Wiseman film.

  • Sanctus

    Sanctus

    I'll never swallow again. Sorry boys.