Joshua Minsoo Kim

Joshua Minsoo Kim Patron

Favorite films

  • Speedy Boys
  • bright and dark
  • Dream Island Girl
  • Painting Lights

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  • The Trial

    ★★★

  • There Once Was a Singing Blackbird

    ★★★★

  • The Dark Room

    ★★★★

  • They Shoot Horses, Don't They?

    ★★★★

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  • TEN YEARS LATER

    TEN YEARS LATER

    ★★★

    My hope is always that if I have an audience of 30 people, they see 30 different films. I ask the audience to participate with the film and you can only participate through your own self, through your own beliefs.

    —James Benning

    I met up with James Benning when he was in Chicago a couple months ago and talked with him about growing up in Milwaukee, his experiences with organizing, pedagogical strategies, and numerous films from throughout his career including…

  • Minamata Mandala

    Minamata Mandala

    ★★★

    Until now, I’ve always felt I really, really had to offer a clear-cut explanation for a film so that the audience could have no mistake in understanding the issue. I felt I had to give them impactful scenes and a detailed explanation until it became too much. Now I feel like as long as you offer some basic important information, the rest you can edit quite a bit. As long as you have some essential information in it you can…

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  • Light Drops

    Light Drops

    ★★

    Really one-dimensional characters and exploration of racism, which makes the character arcs really unbelievable. Very strange film to watch and then realize is from 2002; its look and themes and pacing and characters feel like they're underdeveloped in a way that made me think it was released much earlier. There are some exquisite shots though, often involving Nuno Canavarro's score; these quieter passages shed light on how clunky the actual narrative is. But hey, Plux Quba is an all-timer and the music here is phenomenal, so it was worth watching to hear more from NC.

  • Shiva Baby

    Shiva Baby

    ★★

    Was reminded of Thoroughbreds for how its soundtrack really demands that you feel anxiety. It's a real shame, too, because the central story here is stressful enough. And while I'm always game for any piece of art that has me feeling such a physiological response, Seligman's decision to eschew naturalism only reveals the cracks in her filmmaking. The blocking and framing rarely feel claustrophobic, and the misfortunes that fall upon Danielle just compound cruelty (which I'm ok with) to the point of feeling schematic (which I'm not), diluting all these characters such that the ending feels incredibly unearned.

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  • Glass Onion

    Glass Onion

    ★★

    Has a painful hour-long setup with poorly timed jokes, and then a second hour of “reveals” that are wholly the result of withholding information. There’s no real surprise when a mystery operates in this way, nor is there any opportunity to find satisfaction in noticing and following specific clues. So really we’re just led through everything one step at a time, with flashbacks shaking up the structure to provide a shallow sense of complexity. No one’s acting is noteworthy, and…

  • The African Desperate

    The African Desperate

    ★★★

    I don't think I've seen a film with such on-point millennial representation that my primary reaction was secondhand embarrassment, albeit in a good way. The Impact-font memes, the way this particular age group talks about race (and talks about how people talk about race), the unironic crypto art bro, and so much of the soundtrack, which ranges from Objekt's "Porcupine" to Jai Paul's "Jasmine" (that these aren't timely songs ensures their inclusions aren't trendy; they're just reminders of how generation-specific…