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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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Continue reading →: In Theatre: MisericordiaA lot of our world can be explained by a guilty conscience and blood rushing into specific body parts. If that is the case, Alain Guiraudie’s newest dark comedy Misericordia certainly encapsulates the entirety of the world. Following a man in his early thirties returning to his small, bucolic hometown…
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Continue reading →: Fire of WindMarta Mateus’s Fire of Wind, clocking in at 74 minutes, feels like it spans decades. This is not a sly reference to its gorgeously photographed, glacially moving scenes, but a compliment to how it ingeniously pierces through time despite the simplicity of its liminal, pastoral setting. The film opens with…
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Continue reading →: Flowers of ShanghaiOnly seen some of Hou Hsiao-hsien’s more personal works from the 80s and Millenium Mambo thus far, Flowers of Shanghai is the most fluid work I have seen from him. I have deep emotional connections to his childhood trilogy, but one can easily argue they are too formally rigorous for their own…
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Continue reading →: In Theatres: Black BagBlack Bag is the second film from Steven Soderbergh that received a theatrical release this year. Starring Cate Blanchett and Michael Fassbinder with a dynamic ensemble cast including Naomi Harris, Marisa Abela, Tom Burke, and Regé-Jean Page as an ensemble of spies entangled within a murderous conspiracy that threatened the…
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Continue reading →: Favourite Watches of FebruaryJeanne Dielman, 23 quai du Commerce, 1080 Bruxelles Personally, the 3 and a half hours flew by faster than any other films I’ve seen of the same length. Maybe staring at Delphine Seyrig doing house chores is ultimately what cinema is all about. A film with such a distinct spatial…
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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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