Having decided myself to migrate from a Toronto suburb to Montreal in my young adulthood shortly after hearing Visions for the first time, I am…
“The most dangerous thing you can do in life is play it safe.” Though it would not be difficult to imagine, these words were not…
“Is this what the end of the world feels like?” The question is posed from one beleaguered raver to another, on a school bus somewhere…
“I HATE YOU ALL.” So begins Gangsterism, Isiah Medina’s latest film. Lest one doubt his sincerity, the poster is tagged with a statement of intent:…
While the bibliographic career of Michel Houellebecq has never failed to court intrigue, praise, and rancor, his filmed performances have garnered relatively little attention. Perhaps…
Favoriten (2024), Ruth Beckermann’s latest, rolls production titles over a series of children’s drawings of buildings. Following a nigh universal youthful design scheme, the drawings…
“What is time except to curve past and present around us?” Cesar Catiina (Adam Driver) asks the January 6-coded throng demanding his Megalopolis be destroyed.…
At age six, Francis Ford Coppola waited for a Tucker Torpedo to arrive in his driveway. His grandfather, Agostino, was among Hollywood’s first generation of…
Pablo Marín’s cinema can be deceptively simple and deceptively complex. Having worked exclusively on 8 and 16mm celluloid, the Argentinian filmmaker has gravitated, as with…
Antoinetta Angelidi’s filmography is composed of five films across five decades, stretching back to Idées Fixes/Dies Irae in 1977. Over the subsequent half century, Greece’s…
We Don’t Talk Like We Used To, the title of Joshua Gen Solondz’s latest film, has a few potential meanings to account for. The first…
When I worked the film scanner at a home media transfer house, among the foremost moldy delights I could regularly expect to find on my…
Before He Thought He Died (2023), a friend spoke on his misgivings about 88:88 (2016), Isaiah Medina’s hitherto best-known film, echoing sentiments that sounded familiar.…
Essential to the success of any siege film is some greater absorption of the concept of walls breaking down. One shudders just thinking about the…
As with so many James Mason films, in Pandora and the Flying Dutchman (1951), the actor seems an anachronism, as if his parts could have…