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Pazuzu 2 2019
From my weird filmmaking phase early in the pandemic to my even weirder creative writing phase now, I look back and realize that way too much of what I did was as a result of Pazuzu 2.
Granted, it's not the only influence I had. Neon Genesis: Evangelion taught me to go a bit haywire, Jeanne Dielman broadened my expectations on patience, The Parallel Street taught me that digressions can be THE point rather than a distraction from the point,…
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Mirror 1975
Tarkovsky is a bit different from other slow cinema artists that dominate other parts of the world. Like filmmakers such as Bela Tarr and Lav Diaz, Tarkovsky holds shots for long periods of time, perhaps with more camera movement than the others, yet when Tarr and Diaz move their shots, they match the mood out of necessity. Their films are slow, so their camera movements are slow as well, makes sense, and they do it spectacularly. Tarkovsky moves his camera…
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Marketa Lazarová 1967
Sátántangó may be this film's only rival in terms of quality, yet they are near polar opposites, with Sátántangó achieving mood through slow, sprawling, dense story-telling, and Marketa Lazarová punching with every scene of action and dialogue; as flashy and bombastic as possible.
Of course this is all a personal perspective, but if I were to visualize a potential "peak" of film perfection, Sátántangó and Marketa Lazarová are the only films that seemed to attempt that jump. Neither film is…
