msicism

Flash Poll: Wrapping 2021

Now that the semester is over, I want to prioritize finishing off the major films from last year. As per usual, I will eventually see all the films from last year's Cannes competition, and will also stri...

Electra, My Love (Miklós Jancsó, 1974)

This appears to be the point at which Jancsó descends into silliness, but Electra, My Love is by no means without interest. Here Jancsó abjures the specifics of Hungarian history that usually ...

Silence and Cry (Miklós Jancsó, 1968)

Interiors!

With Silence and Cry, it seems Jancsó was trying something different, and the results are mixed. The primary themes are still in place, as the action takes place immediately fo...

Red Psalm (Miklós Jancsó, 1972)

Happy May Day!

While Red Psalm is a far cry from the triumph of The Red and the White, is does depict Jancsó's art at a particular moment of mastery. Essentially an abstract cine...

May Poll

We are not quite done with Jancsó. But let's go on and set the course for the merry, merry month of May.

This time, I am including directors with whom I'm rather familiar, but about whom I haven't...

The Red and the White (Miklós Jancsó, 1967)

Often, the great modernists were forced to devise a new formal approach to their art in order to fully accommodate the subject matter they wanted to explore. This isn't a new observation, of course, but ...

Putting It Together: Two Avant-Garde Films

The Red Thread (Larry Gottheim, 1987)

Thanks to Max Proctor's wonderful Ultra Dogme...

Intimate Confessions of a Chinese Courtesan (Chor Yuen, 1972)

In 2013, avant-garde filmmaker Shambhavi Kaul produced a short film called Mount Song. It consisted of isolated, moonlit village scenes, often covered in patently artificial snow. Open structure...

Robe of Gems (Natalia López Gallardo, 2022)

If you are not familiar with the work of Natalia López Gallardo, the opening sequence of Robe of Gems, her feature directing debut, will help you place her immediately. Following the opening cr...

Fabian: Going to the Dogs (Dominik Graf, 2021)

Nothing in Dominik Graf's latest film is as exciting as its first ten minutes. In the opening sequence of Fabian, Graf and cinematographer Hanno Letz take us through the tunnels of a U-bahn stat...

Feathers (Omar El Zohairy, 2021)

Based on the little bit I'd read about Feathers (the 2021 Cannes Critics' Week winner), I expected a comedy. And I suppose an argument could be made for Feathers as a pitch-black comedi...

A Couple of Recent Views

Grandma's House (Sophy Romvari, 2018)

I watched this, along with the somewhat more straightforward Nine Behind (2016), on the Criterion Channel, which has wisely decided t...

The Wilkinson Household Fire Alarm (Morgan Fisher, 1973)

Morgan Fisher is an unusual figure in experimental cinema. While his work is clearly aligned with the concepts and procedures of structuralism, he isn't always cited as one of the major figures of that "...

Variations on a Cellophane Wrapper (David Rimmer, 1970)

This is a bit of classic as far as Canadian structural film goes, although it isn't shown all that much these days. (A few years ago, TIFF Wavelengths premiered a restoration print, although I don't reca...

Agnus Dei (Miklós Jancsó, 1971)

Obviously it's a bit premature to make any grand declarations about Jancsó, seeing as I've only seen three of his films, one so long ago I can barely remember. But seeing Agnus Dei closely on t...

The City and the City (Christos Passalis and Syllas Tzoumerkas, 2022)

A film that is far more interesting than successful, The City and the City more than lives down to its odd, elliptical title. It seems that its makers are laboring under a false assumption. Give...

The Round-Up (Miklós Jancsó, 1966)

The first of Jancsó's films to really break through in the West, The Round-Up seems to suggest things to come. The film is explicitly about the situation in Hungary following the failed 1848 re...

The Cathedral (Ricky D'Ambrose, 2021)

Often we follow filmmakers who show continued promise, but for whatever reason are unable to bring their talent and vision to the next level. So it's incredibly gratifying when all the pieces come togeth...

Welcome to the Yawn Show

Miklós Jancsó, that is! The Hungarian master, who shone brightly in the 60s and 70s, fell out of favor in the 80s, and is now making a comeback here in the 20s, is April's Director of the Mont...

April Director of the Month Poll

In Reverse

So I've been swamped with work this semester, and I am not getting to write as much here as I'd like to. In light of this, I have decided to make some minor changes. 

1. I am bringing back the...

The Novelist's Film (Hong Sangsoo, 2022)

Once again giving the lie to the common claim that all Hong films are the same, The Novelist's Film pointedly demonstrates the formal limitations of his method. Although Hong's latest rallies in...

Azor (Andreas Fontana, 2021)

One of 2021's standout debut films, Azor is a meticulous and frustrating experience. Loosely patterned on Heart of Darkness -- even ending with a literal trek into the jungle and discov...

Master (Mariama Diallo, 2022)

[NOTE: This review contains spoilers.]

In his review for the 2014 comedy Let's Be Cops, 2022-03-26 01:51:38 +0000 UTC View Post

Jackass Forever (Jeff Tremaine, 2022)

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2022-03-24 23:49:10 +0000 UTC View Post

Losing Ground (Kathleen Collins, 1982)

There's no getting around the historical importance of Losing Ground, it being the second feature film directed by a Black woman. (See below.) Taken exactly as ...

Three Floors (Nanni Moretti, 2021)

Moretti's latest is bizarre. The film hurtles from incident to incident, almost as if an entire season of some middling prestige-TV entry had been edited down to a mere two hours. It's also tonally inscr...

Lingui (Mahamat-Saleh Haroun, 2021)

Chad's leading auteur -- perhaps the country's only regularly working director -- has never been known for his subtlety. Haroun has a particular m.o., which is focusing on small groups, usually a family,...