gems, december-february

British Sounds (Godard, 1970): as i begin my descent into the world of 70s godard, this featurette composed of primarily sound/image tomfoolery and leftist montage was a great intro. keeps it concise and hard-hitting, with little of the tedium i was expecting given the dire reception of many of these works.

The Sunchaser (Cimino, 1996): while the finale kinda squanders a lot of the back and forth politics of the early scenes, i think it earns a healthy amount of the catharsis it goes for. always interesting takes and the cinematography is capable throughout. not quite a great film but one that makes me more interested in the filmography anyways.

Solidarity (Wieland, 1973): only a few minutes long but all the invigorating content i crave in my inspirational agitprop.

EMBARGO (Lurf, 2014): also only a few minutes long. mysterious and i think it has a fantastic sense of rhythm and pacing. exciting film anyways.

Tales From the Quadead Zone (Turner, 1987): oddly entrancing, experimental, and funny. comes close to being the quintessential video horror and feels surprisingly ahead of its time, appearing more as a mid 90s SOV horror than anything else. well paced and has a nice sense of camp. great gentle watch.

Looking for Langston (Julien, 1989): expressionist portraits of what were, at the time, impressionist portrayals. beautiful stuff.

Picnic on the Grass (Renoir, 1959): i’m kind of up and down on renoir but i love his more relaxed and comfy films like this. it’s just a sort of basic screwball that’s elevated immensely by its score, b-footage, and great pacing. makes me really admire what renoir was able to do with it.

Wall (Ito, 1987): what can i say, ito just makes consistently entertaining and groovy shorts.

Ascension (Hussain, 2002): i had some technical difficulties getting this one to work so i’ll have to hold off on going in depth on it but it’s got a great aesthetic and i love the dialogue.

Working Girls (Borden, 1986): a chamber drama that shifts from camp, satire, leftism, theatrics, and always keeps it fresh and interesting. borden’s quickly becoming a director i love and this sort of synthesis of so many different elements creating a fresh prostitute story is a huge reason why.

The Drivetime (Alli, 1995): while it’s not something i would call a personal favorite, this sort of dotcom era of film that reconciles the possibilities of the net is going to always be interesting to me. sensory overload and i wish it was more coherent but it makes me want to see another alli or two.

Still in Cosmos (Makino, 2009): my only complaint about this is that i couldn’t see it in a higher definition because, wow. this is an overpowering abstract film, makes me want to completely surrender to the breathtaking aura that it imposes on the viewer. makino is like one or two films on this level away from being my favorite avant-garde director.

Love Massacre (Kar-Ming, 1981): again, technical difficulties forbids deeper praise, but the contrast between the antonioni-esque formal aesthetics and the giallo-inspired, well, other stuff, is really interesting to me. kind of reminds me of Blood Beat but not as good.

Ruby in Paradise (Nunez, 1993): too long for being what it is but i think it’s a great slice of life film that never feels to demeaning or sadcore or any of the usual minor tragedies that plague this sort of filmmaking. surprisingly funny at times and, when it decides to veer into the aesthetic side of things, succeeds in strides.

Warsaw Bridge (Portabella, 1990): completely different from the other portabella i saw, this is baroque, maximal, and narrative in a cool way. this kinda reminds me of a more minor greenaway mixed with some elements of tati, which is to say that it’s cool if not something i can call masterful or essential. if piavoli, greenaway, etc are your faves, give it a shot.

Spontaneous Combustion (Hooper, 1990): insane pyrotechnics and, like The Mangler a few years later, has this sense of misery that permeates every frame of the film. looking back on hooper’s filmography, it’s shocking how many of his films deal with americana and different stages of capitalism, first with curiosity, then brutality, finally hopelessness.

At Eternity’s Gate (Schnabel, 2018): very pleasant and comfy and soothing, which is all that i ask for when i watch many slow cinema films. nothing can come close to Edvard Munch when it comes to artist biopics so why bother trying anyways? but this goes for something different and excels.

Vortex (B and B, 1983): want to rewatch it so i can reconcile the plot, influences, and aesthetics better but this really won me over by how bizarre and stylish it is, merging a flurry of genre beats and tempos into an ultimately incredible project start to finish.

Seeking the Monkey King (Jacobs, 2011): i’m not really that interested in jacobs more freewheeling work or his structuralist work and i really wasn’t sure how much else he was doing, but this film definitely has kindled an interest in his other films. trippy, partially soothing and scorning, always unique. glad to see his fire hasn’t been put out from his Star Spangled to Death era.

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