Favorite films

  • Fanny and Alexander
  • Lost in Translation
  • Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles
  • Tokyo Story

Recent activity

  • I Can't Sleep


  • 2046


  • Design for Living


  • Beau Travail


Recent reviews

  • Beau Travail

    Beau Travail


    This review may contain spoilers. I can handle the truth.

    A film whose first ten minutes seem to make the movement of military training and the movement of dance distinct in every possible way—one masculine, the other feminine, one combative, the other sensual, one propulsive, the other fluid, the one harsh, the other beautiful—and then spends the rest of the film seemingly muddying those distinctions until its final moments, when Denis Lavant's wild, acrobatic dance seems to make any such distinctions meaningless—a thing completely unique, a release entirely human.

  • In the Mood for Love

    In the Mood for Love


    Many of WKW's characters are "performative," but Leung and Cheung's characters in Mood are distinct in that, when they perform at all, they do so almost out of a kind of necessity, as a way to investigate themselves, their situation, their feelings toward one another within a community for whom their sense of decorum (one that the lovers have deeply internalized) would forbid anything more overt. What makes it particularly heartbreaking, though, is the way they can't seem to sustain…

Popular reviews

  • News from Home

    News from Home


    Perhaps slow cinema hit differently in 1976 than it does today, but in the world of 2021, it seems to carry with it an imperative, not merely to slow down, but also to observe and to reflect, to create space not only to feel, but also not to feel. In a media-saturated world where every pull-to-refresh mechanism offers the next hit, where every streaming service automatically delivers to you the next thing, how unburdening it is to be given time…

  • The Big City

    The Big City


    I understand, and share, the love of Pather Panchali, but how The Big City fails to go unmentioned in the same breath is, having now seen it, more than a little shocking to me.

    In this film, Ray is at his most overtly political, progressively so with regard to both gender and, to lesser extent, race (and with a bold, at-times frenetic camera aesthetic to match that progressive vision). The film, however, is not merely a political exercise, as Ray,…