(there is a TLDR at the end, for anyone interested 😊)

As soon as Varda begins rhythmically cutting shots of nature and family to bouncy, major key Mozart, I latched on to and delighted in the air of irony and scorn that would characterize the rest of the movie. Sweetness on the front, extreme and lingering tartness on the back. A colorful world of "happy" people, blindly skipping towards a violence they receive or enact. A horror film clawing its…

Me through the first two thirds of this: "This is quite good! Though, is it really going to live up to a 4.5 ra...?"

The club sequence: "Yo."

Me from that point on: 😮😮😮😮😮😮😮

At least in my limited viewing, this has got to be the undisputed procedural of its era and the defining one for eras to come, displaying an interest in the granular realities of crime that is tenfold that of any of detective or legal film that…

(major spoilers)

Kieslowski's The Double Life of Veronique is maybe most characterized by its thick sense of possibility. Of being on the verge. The camera calmly moves and then calmly sits through a world bathed in amber yellow and seaglass green, and an atmospheric quality falls over these two women's lives. Weronika and Veronique are on the precipice of their own lives, young women wrangling with their own talent, lovers, and convictions about what they want from life as they…

(SPOILERS)

The Relationship Between Truth and Humanity in Stalker and in Its Biblical References

Unfortunately, it seems that encountering tragedy is perhaps the swiftest way in which the chaff of life is sifted through, and by which fundamental issues come back into a more universally recognized state of pertinence. Disaster strikes, and in order to process and move beyond the shock, we have to rework our conceptions of truth, meaning, and happiness.

Stalker most blatantly evokes one particular such tragedy:…