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Continue reading →: The Periphery of the BaseIn the opening sequence of The Periphery of the Base, director Zhou Tao’s camera steadily observes the desert landscape, with the horizon in the middle of the frame. The wind is constantly howling, and the weather is shifting capriciously as the shadows cast by the sun emerge and disappear within…
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Continue reading →: The EelShōhei Imamura’s The Eel won the Palme d’Or at the 1997 Cannes Film Festival in a tie with Abbas Kiarostami’s legendary Taste of Cherry. Since then, there have been chatters that questioned this tie due to the gap in quality between the two films. The latter is now unanimously considered…
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Continue reading →: Diary of a Fleeting AffairDiary of a Fleeting Affair features a pair of lovers that commits to a non-commitment relationship. This ostensible paradox is the key to the film’s playful and human nature. The first scene of the film is a second encounter between the more timid and submissive Simon, who is married with…
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Continue reading →: Leila and the WolvesHeiny Srour’s docufiction hybrid quietly launched on the Criterion Channel at the start of this month. Before it’s streaming release, it had a run around the cinematheque circuit over the world. Thanks to the TIFF cinematheque, I had the opportunity to see it in theatres last month. At a museum…
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Continue reading →: In Theatres: SinnersMy initial expectation for Ryan Coogler’s Sinners was barely existent. As someone who has helmed nothing but legacy sequels and franchise projects since his debut feature, Fruitvale Station, I carry a vast amount of doubts towards whether he has enough authorial voice left within him for an original project such…
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Continue reading →: Favourite Watches of AprilHow Green Was My Valley We never see the washed-out 50-year-old narrator except for his wrinkled hands in the beginning; we see him only as an innocent 12-year-old whom he chooses to fill the images of his memories with. There are often low-angle shots that suggest a child’s perspective of…
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Continue reading →: Night MovesAt the 2013 Venice International film festival, Kelly Reichardt premiered her most genre-focused work even up to today. She set to premiere a heist film starring Josh O’Connor at the upcoming Cannes, so it seems wise to look back at how she fares under a more stringent genre framework. Night…
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Continue reading →: Up, Down, FragileNear the end of his 1954 essay “The Essential” on Otto Preminger’s Angel Face and The Moon is Blue, Jacques Rivette makes the claim, “What is cinema, if not the play of actor and actress, of hero and set, or word and face, of hand and object?” Certainly, the films…
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Continue reading →: A New Old PlayQiu Jiong Jiong’s A New Old Play navigates through history with a very pertinent apparatus. The story at large has already been presented in myriad Chinese movies by countless masters; it’s about the artists against the ever-shifting political currents. The history is finite, but it shapes individual families in drastically…
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Continue reading →: In Theatres – Thoughts on The Woman in the YardDanielle Deadwyler as distressed mother is slowly becoming a genre of itself. Jaume Collet-Serra’s newest blumhouse horror The Woman in the Yard is definitely not the first horror movie about grief, and the Philippou brothers will ensure this will not be the last. Its psychelic montages are basically recycling the…
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If we consider the overview of the world of cinema as a map, then the voyage to connect the scattered dots in between is what we’re invested in. Serge Daney once described voyage as ‘without luggage, totally self-sufficient in his dispossession’. Being a citizen of world cinema is to abandon the luggage of predefined cultural expectations and meet each film and each filmmaker on their own cinematographic terms. If you are down for this journey, please consider subscribing to this travelogue.
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Cinema Travelogue 