Favorite films

  • Four Nights of a Dreamer
  • L'Avventura
  • The Conformist
  • Claire's Knee

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  • La Belle Noiseuse

    ★★★★★

  • Film Socialisme

    ★★★★

  • Hail Mary

    ★★★

  • Nouvelle Vague

    ★★★★

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  • Magnolia

    Magnolia

    ★★★★

    "We met upon the level and we're parting on the square".

    Burt Ramsey saying his final farewell to his fellow brethern, brandishing his Masonic Signet Ring, adorned with the Masonic "square" and compasses, places his hand on his partner in show-biz for thirty years, Jimmy Gator's shoulder and recites to him the ending phrase from the Freemasonry creed: 

    "At the close of every Blue Lodge the First, Second, and Third Degrees, the following is chanted:
    Worshipful Master: Brother Senior Warden,…

  • Ciao! Manhattan

    Ciao! Manhattan

    “She takes just like a woman. Yes, she does, she makes love just like a woman. Yes, she does, and she aches just like a woman. But she breaks just like a little girl”

    There is something eerily macabre and deeply unsettling. A film so vile and downright exploitive. Never before have I had the discontent of viewing a film with such a irrevocable disdain for its actress, an ill treatment of her image, hyper-sexualization constitutes to the faux-vanity materializing…

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  • Magnolia

    Magnolia

    One of the most blatantly obnoxious pieces of pseudo cinematic drivel I've ever so bravely endured. A dry pastiche that resides in the penumbra of Robert Altman, Anderson’s graven image of the impeccable director is set in brazen stone, built atop a foundation of straw. "Magnolia" is merely an imitation, another grotesque inadequate undertaking of replicating the maestro’s body of work. A failure on PTA’s part as his inefficacy in attempting to do an “Almanesque” feat, without comprehending the significance…

  • Minari

    Minari

    Minari, Lee Isaac Chung’s soulless foray into the hollowed out contemporary film industry is another vainful attempt at the Hollywood elite’s delusions of grandeur, their pursuance of strenuously coercing their audience into buying their melodramatic cliché films, in which the immigrants are exploited and forced to revel in the sentimentalization of the penury of the American Dream. Minari is no outlier in this equation unfortunately. Chung frequently tries to push this conventional narrative of misty-eyed nostalgic misapprehension of the lucrative…