Favorite films

  • Hiroshima Mon Amour
  • Breaking the Waves
  • Holy Motors
  • Werckmeister Harmonies

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  • 24

    ★★★★½

  • 4:30

    ★★★½

  • Titane

    ★★★½

  • The Souvenir Part II

    ★★½

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  • Sucker Punch

    Sucker Punch

    ★★★★½

    Where to start with this film? To those previously unacquainted with Zack Snyder's works (like myself, having somehow avoided even his superhero ones), a foreboding mythos looms over them like an irresistible spectre, enticing and repelling in equal captivating measure. Likewise, one tends to find it difficult to separate, or at least distinguish between, the strands of ironic critique and sincere commentary that prove so characteristic of his dialectical engagement. It's terrifyingly problematic for the uninitiated viewer suddenly thrust into…

  • I'm Thinking of Ending Things

    I'm Thinking of Ending Things

    ★★★★★

    There’s nothing quite like this one. Kaufman at his most unrestrained, unconscious, unsettling: a Lynchian tapestry of all the unease that comes with existing, alone or with another — or both at once. The recesses go deeper, time seems to distillate into a synchronic eternal, compartments unfold and box themselves into storage spaces in the mental warehouses and psychological manifolds of an always-already societal symbiosis: of relationships, interactions, hierarchies, memories, co-habitating spaces and minutes. I’m Thinking of Ending Things synthesises…

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  • 24

    24

    ★★★★½

    "Cinema is truth 24 times a second." So reads the famous aphorism of Jean-Luc Godard, uttered in 1961's Le Petit Soldat, of the image and its role in reflecting, refracting, corresponding to, or even distorting, the fabric of reality. Taken at face value, the aphorism underscores the primacy of the image, the synthesis of individual frames which, taken together, constitute a continuum and hence construction of lived reality. If a picture speaks a thousand words, then a film speaks a…

  • 4:30

    4:30

    ★★★½

    The film’s ambiguity occasionally plays out as aesthetic trope rather than anything more, but there’s no denying the moody ennui percolating through 4:30, fixated on the psyche of a young boy knowing little solace except in the unlikely corners of the quotidian.

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  • Bergman Island

    Bergman Island

    ★★★★

    The quintessential Swedish film: Bergman, saunas, ABBA.

  • Two/One

    Two/One

    ★★★

    The last act, which literalises the film's underlying conceit, also unravels its philosophical and existential heft; logical and narrative absurdity abounds. Yet on the whole, Cabral's debut is remarkably attuned to the sensibilities of the modern world, portraying a globalised and — dare I say — universal consciousness within each and every one of us, as we contend with our place in this vast and alienating society. There are some impressive shots and sequences in this one.