Two Lovers (Gray, 2008): gray is a solid 3 for 3 right now, an immersive dramatic director whose deft navigating of melodramatic and adventure archetypes reminds one of, say, a 60s hollywood director making 40s hollywood pictures. can never quite pin down what makes him good, it’s likely a mixture of his ear for dialogue and impressive cinematography which treads the line between dull and flashy. as his other two have done, builds my excitement for Ad Astra.
Offering (Caldini, 1978): this movie’s only like 3 minutes or something, just go watch it. great non-narrative.
Surrender (Kopko, 2019): manages to pull off lo-fi VHS retro-vaporwave aesthetics in the decade where that mode of creation seemed to die and rebirth at least three times already. kopko’s eye for inorganic imagery and sounds, surely influenced by her immense knowledge of the medium, is what propels this to the forefront of the modern avant-garde to me.
Jane (Christensen, ???): adore the music in this, adore how un-pretentious this film is in its portrayal of a teen who demands to be taken seriously while acknowledging the paradox in this sometimes. other people are probably going to hate the dialogue in this, and its trashy-ness certainly encourages that to an extent, but it’s something that has a really profound appeal to me, hokey as it can be. a fantastic gem in the rough.
The Deadly Spawn (McKeown, 1983): it’s something that i can’t quite call a masterpiece because i generally prefer my shlocky genre films to go really far in some political or vulgar direction, but as a lean, mean 80s horror it’s pretty much as good as it gets this side of tobe hooper. not too much to say, pick it for your midnight movie sometime.
The Last Film (Martin & Peranson, 2013): alex ross perry taking the piss out of every white person who’s ever been to latin ruins for an hour and a half is a surprisingly fun way to use an hour and a half
The Death of Louis XIV (Serra, 2016): been meaning to get to this for a while, and i felt with the fact that his other Louis films are going to be easier to get ahold of, now was as good a time as any. doesn’t quite hit the maximum height that slow cinema is easily capable of; think of it like a more baroque van sant if that’s your fancy. and it obviously doubles well with rossellini’s film too. leaud can do no wrong etc.
Rumble Fish (Coppola, 1983): had no idea what this was gonna be like going into it, and nobody really thought to call this Tetro 0.5? man, film criticism is a dead art. anywho, some beautiful vignettes, generally up to snuff with his other great-not-masterpiece tier work. the central visual motif/metaphor here is surprisingly well-done even if it seemed like slam poetry at first.
Cyberella: Forbidden Passions (Garth, 1996): remi’s extremely good at finding these giga-obscure SOV/genre/no budget/sleazecore type films that end up becoming favorites for me. this is among the best of those types; 90s softcore about the afterlife and learning that sometimes the most difficult thing to do as a woman is being able to demand more for yourself from misogynists. the dredges of being a manic pixie dream girl, set to dialogue that would sound corny in a sega commercial. masterpiece because of it though.
Up, Down, Fragile (Rivette, 1995): it comes off to me as a minor rivette in the way that, idk, Love on the Ground does (or that Secret defense doesn’t). good thing jacques is incapable of making bad movies, or even movies less than really good in most cases. pacing god.
La flor (Llinas, 2018): the best film of the last 5 years for my money. i was impossibly hyped for this movie and my hype still couldn’t have prepared me for how much i unabashedly adored this mammoth feature. it’s always fresh, funny, entertaining, inventive – this is really just what the movies were made for. reminds me of that jimmy neutron episode where he engineers the perfect movie – this one’s got like everything in it i could ever want. lifetime subscriber to the church of llinas.
Chain (Cohen, 2004): while its aesthetics only touch the vaporwave movement, the influences seem very akin to that aesthetic, and the notion of late capitalism swirling together the entire working class into this depressed day-to-day “there has to be more to life than this” is done beautifully. makes me interested in what else cohen has to offer. great fake-doc feel as well, legitimately thought it was a real documentary for most of the time (though i suspect a lot of it is very true to life).
Esophagus (Fotopolous, 2004): not a genre you hear of everyday, this fotopolous flick combines noisy soundscapes, lo-fi digital, and repetitive sequences into this scifi-horror-experimental fusion. works perhaps a bit better in concept than in execution at times but there are moments that are beautiful and moments that are horrifying and it’s paced well for an outing of this nature.
The Secret Garden (Solomon, 1988): i saw several solomon shorts at a screening and they were all good to varying degrees but this was the biggest highlight. something so nostalgic and primal about it, especially in the like subtitled dialogue that was extra zoomed in with almost a christmas-y filter going on. would love to see this one again soon!
The Black Tower (Smith, 1987): structuralist horror of sorts but still lighthearted enough to not feel like it’s too tryhard-y. great stuff, fun little picture. go watch it on youtube it’s just a short!
The Sticky Fingers of Time (Brougher, 1997): the poster and name had me thinking this was gonna be some like lighter campy scifi when in reality it was quite funny but in a sort of rivette way, there’s a humor to it that sort of extends in unusual directions. i always like scifi concepts even when it’s just the same type of time travel, this one has a great allegory for it, and the pacing is on-point for the majority of the runtime. cool little gem for sure.