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by Morris Yang

Credit: Berlinale
by Morris Yang Film

Best Films of 2020: DAU. Degeneration

To delve into the world of Ilya Khrzhanovsky’s DAU. is to forgo the comfortable spectatorial positions of detachment and objectivity, and submit to its fantastical reconstruction of a totalitarian empire. Already, viewers versed in the megalomaniac dictatorships of auteurs and visionaries might balk; and that’s to…

December 27, 2020
Credit: Nightstream
by Morris Yang Film

Mandibles | Quentin Dupieux

Perhaps the most unbefitting title to arrive in the middle of a global pandemic, Quentin Dupieux’s Mandibles defies the current for two reasons. That its titular appendage serves a wholly positive function — of cheerful and robust consumption — rather than reflecting the fearful…

October 9, 2020
Credit: NYFF
by Morris Yang Film

The Lobby | Heinz Emigholz

“There is no here here” — so encapsulates the thematic and ontological dimensions of Heinz Emigholz’s wryly self-deprecating latest. A consistently infuriating and possibly even glib attempt at psychoanalysis, The Lobby entraps its viewers within an impossible game of dialectics, pitting bombastic pronouncements and…

October 6, 2020
Credit: TIFF
by Morris Yang Film

Under the Open Sky | Miwa Nishikawa

Like R.W. Fassbinder’s Berlin Alexanderplatz, Under the Open Sky opens with an aging man being released from prison after serving thirteen years for murder. During his out-processing, the warden glances through the records and, in perhaps an attempt to relieve their unhappy burden, asks…

September 23, 2020
Credit: TIFF
by Morris Yang Film

Quo Vadis, Aida? | Jasmila Žbanić

The spectre of doom looms over the besieged town of Srebrenica for the entirety of Jasmila Žbanić’s Quo Vadis, Aida?, but the portended massacre only occurs towards its end, summed up in just a handful of shots. And all the better for the film…

September 21, 2020
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