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Two Films by Manuela de Laborde

In 2016, Mexican filmmaker Manuela de Laborde released what was probably that year's most acclaimed experimental film. As Without So Within is a nearly 30 minute long abstract study in color and...

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In Front of Your Face (Hong Sangsoo, 2021)

Lots of filmmakers were forced to change up their methods in order to keep working during the Covid-19 lockdown. But Hong Sangsoo is one from whom you might not expect any dramatic changes, since most of...

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EXTRA: Top Ten As-Yet-Unwritten Sparks Songs

Ball's in your court, Ron.

10. Do You Know Why I Pulled You Over?

9. Rain Delay (Ron Delay)

8. The First Time We Saw the Beatles In Concert (A ...

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Softie (Samuel Theis, 2021)

English titles of foreign films can often be clumsy and misleading, and Softie is not a particularly apt rendition of Petite nature. The phrase is a derogatory expression meaning "hotho...

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The Sparks Brothers (Edgar Wright, 2021)


Occasionally I enjoy a film so much that I am a bit suspicious of the experience. Why does this particular movie seem to be pushing all my pleasure buttons? Is it pandering to me? Granted, I w...

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Bergman Island (Mia Hansen-Løve, 2021)

"Why didn't Bergman make films about happiness?" wonders Chris (Vicky Krieps) to her husband Anthony (Tim Roth). Although Hansen-Løve takes her time clarifying exactly what we're watching, we eventually...

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An American in Paris (Vincente Minnelli, 1951)

It's going to be an interesting month! To be honest, I don't have a lot of experience with the classic Hollywood musicals. And the ones I've always known and liked have been the Busby Berkeley films, wit...

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A Matter of Life and Death (Michael Powell and Emeric Pressburger, 1946)

It has to be said: the British are simply made of sterner stuff. From 1939 to 1945, Powell and Pressburger essentially made World War II the primary subject of their filmmaking. It plays a role even in <...

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July Goes Forth -- director poll

LET'S DO THIS. (At least one more Archers film to come, though.)

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The Tales of Hoffmann (Michael Powell and Emeric Pressburger, 1951)

When watching The Red Shoes, I was quite taken with the Archers' bizarre, experimental approach to combining ballet and cinema, so much so that I wanted to see them fully commit to that method w...

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The Canyon (Zachary Epcar, 2021)

Another of the leading lights of experimental cinema at the moment, Zachary Epcar has very quickly defined a highly individual style. In such recent films as Return to Forms (2016) and Life ...

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"This is what they want!"

Just an update: I have not forgotten about the July director-of-the-month poll, but have decided to delay it by a few days. I want to get a couple more Archers films under my belt, but June has been a wi...

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The Capacity for Adequate Anger (Vika Kirchenbauer, 2021)

German film artist Vika Kirchenbauer has been making work for awhile now, but it was her previous film, Untitled Sequence of Gaps (featured at Oberhausen and NYFF) that really solidified her pla...

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A Canterbury Tale (Michael Powell and Emeric Pressburger, 1944)

A "minor film" in all senses of the word, A Canterbury Tale is also a stark distillation of the humanist wisdom that exemplified the Archers' approach to a complex world. This is a film whose pl...

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Trampa de Luz (Pablo Marín, 2021)

Ironically, one of the unexpected benefits of the wholesale switch to digital projection has been a resurgence of Super-8 filmmaking. Not so long ago, even major institutions like MoMA and the Whitney we...

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Oh Yeah, Fuck You

It's been so long since I've gone to a movie theater that I forgot how shitty they are.

I just got back from a failed attempt to see The Sparks Brothers at the Houston Area's newest google...

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Belladonna of Sadness (Eiichi Yamamoto, 1973)

For those who are still struggling with the question of whether the pornographic gaze can ever really be turned to feminist purposes, Belladonna of Sadness offers an extreme test case. Simultane...

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The Red Shoes (Michael Powell and Emeric Pressburger, 1948)

Among this film's many virtues is it strange, remarkable opening scene. The Red Shoes begins with a large group of college-aged men and women clamoring at a gate. You'd think they were waiting f...

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Jury Duty Again

I am a few posts behind at this point, mostly owing to domestic endeavors. Our AC has given up the ghost, which is pretty serious in Houston in June. So we are having a new unit put in all day tomorrow. ...

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Mr. Bachmann and His Class (Maria Speth, 2021)

At least as far back as Frederick Wiseman's High School (1968), documentary filmmakers have consistently been compelled by the inner workings and personal dynamics of the classroom. A pretty won...

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The Amusement Park (George A. Romero, 1973/2019)


To state the obvious, we would not be paying any attention to this medium-length public service announcement if it weren't a work-for-hire by a major film artist. Then again, if Romero weren't...

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Confessions of an Omnishambles

A few weeks ago, I mentioned that I'd been having some issues with illness. I'm pleased to report I have gotten a clean bill of health.

To sum up: I have a sizable lump on my right nut. My first ur...

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Black Narcissus (Michael Powell & Emeric Pressburger, 1947)


The jury is not exactly out on Black Narcissus. It is considered one of the very best artifacts from the Powell / Pressburger partnership, which surely makes it one of the greatest Br...

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A Man and a Camera (Guido Hendrikx, 2021)






As stunts go, A Man and a Camera is fairly clever, and certainly provides the viewer with an extended cinematic Rorschach blot, as Hendrikx...

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Glossary of Nonhuman Love (Ashish Avikunthak, 2021)

The Ann Arbor Film Festival used to (and maybe still does, I don't pay attention anymore) have a panel discussion on the last day of screenings. It was called "What the Hell Was That?" and it provided a ...

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Capitu and the Chapter (Julio Bressane, 2021)

Alas, this is my first exposure to Bressane, possibly the key Brazilian director of his particular era. That era, incidentally, is the post-Cinema Novo movement known as Cinema de Boco do Lixo, or the "M...

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The Coward (Satyajit Ray, 1965)

I wanted to complete my Ray run with an unusual selection, a film that doesn't seem to hold an especially high place in the director's canon. So I want to thank 2021-06-03 03:13:07 +0000 UTC View Post

The Home and the World (Satyajit Ray, 1984)

The more Rays I've seen, the stranger it seems to me that the Apu trilogy continues to be regarded as his crowning achievement. This may say less about Ray, and more about the sort of anthropologically-t...

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The Target Shoots First

The Archers are off to a commanding lead, so if you haven't voted yet, you could still sway the results. Of course, any minute the trucks filled with mail-in ballots will arrive, so the winner has probab...

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The Big City (Satyajit Ray, 1963)

Although they are very different directors, something about Ray has been reminding me of Ozu. Of course part of it pertains to the overarching themes of their respective bodies of work. Both men, in thei...

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