november gems

moved to NY

Death by Hanging (Oshima, 1968) – while this film, to me, has a major flaw in its structure (spends either too much time as a procedural, or too little time on its racial investigations), it is still an extremely potent, beautifully leftist film that i will pretty much always be thinking about. makes me very excited to check out more from oshima.

Extraordinary Stories (Llinas, 2008) – not only in its southern flair, but also in terms of its themes and structure, this reminded me of Amores Perros. however i believe this film is far more intelligent and mature, even though i love that film as well. frequently funny, always compelling, and there’s a ton of little things i think abut a lot. would love to see his latest.

China Girl (Ferrara, 1987) – honestly neil bahadur’s letterboxd review is one of the greatest things i’ve ever read so go read that instead of whatever gibberish i can throw together here. basically an incredible film based on a boring structure that most filmmakers don’t recognize is inherently uninteresting without the subtext ferrara endows.

Youth Without Youth (Coppola, 2007) – this has like crazy mood shifts throughout and goes through odd motions that evoke virtually the entire spectrum of ideas and themes that interest me in filmmaking. the imagery in it is stunning too, and at its core it basically seems to want to be a superhero film that indulges precisely what those sorts of films should be going for.

Choose Me (Rudolph, 1984) – really love how…consistently unique this feels? all of the characters feel at home only in this picture, they are all totally different yet cut of the same mold, and their interactions are all interesting the way a rivette from this era is. a soothing watch.

Changeling (Eastwood, 2008) – the fact that libs think eastwood is a) some dumb patriot type and b) is bad in any capacity in moviemaking is something i will hold over their heads in 20 years when i remind them how dumb they once were

Bitter Victory (Ray, 1957) – i know that nick ray had a lot of stuff that he did that he probably wasn’t that interested in but this strikes me as a passionate film from him. his screenplays are so hard hitting, his images are so spectacular, he just, to quote the goat, is the cinema man

Le revelateur (Garrel, 1968) – honestly garrel being insufferably boring for the most part (while having some great imagery sometimes) is like one of the biggest cinematic disappointments to me, but this is only an hour long and is completely unlike his other films where it’s full on abstraction instead of boring meta deconstruction so yeah lets hear it for high contrast black-and-white art thots

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