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Air (Ben Affleck, 2023)

Let's get this out of the way first. Ben Affleck is a good director. While The Town and Go...

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Red Rooms (Pascal Plante, 2023)

BY REQUEST: Morris Yang

Pascal Plante's last film, Nadia, Butterfly, ha...

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Anselm (Wim Wenders, 2023)

Covering some of the same ground of Sophie Fiennes' 2010 documentary Over Your Cities Grass Will Gr...

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A Brighter Tomorrow (Nanni Moretti, 2023)

Judging from the widespread disapproval A Brighter Tomorrow elicited at Cannes, it is getting ...

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Two Girls on the Street (André de Toth, 1939)

BY REQUEST: Imperial Hean

First things first: I am woefully under-informed about...

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Ferrari (Michael Mann, 2023)

I'm not a huge fan of writer 2024-01-12 20:35:21 +0000 UTC View Post

Days of Happiness (Chloé Robichaud, 2023)

Of course it's a bit awkward, like showing up to the gala wearing the same dress. Robichaud's third fea...

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Monster (Kore-eda Hirokazu, 2023)

It may not be quite fair to say Kore-eda is in his flop era. After all, many quite appreciated his Palm...

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Past Lives (Celine Song, 2023)

Yesterday the National Society of Film Critics (of which I'm a member) voted Past Lives the be...

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The Boy and the Heron (Hayao Miyazaki, 2023)

All art criticism is unavoidably subjective. And in some ways, I wish that weren't the case. Like anyon...

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New Year, Another Subscriber Lottery

Okay, so since only one of the last three "winners" provided a film request, we'll just move along. (Th...

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On the Adamant (Nicolas Philibert, 2023)

At last year's Berlinale, several competition titles were quite well received, including but not limite...

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Performing the Border (Ursula Biemann, 1999)

Given my ambivalence about the place of the essay-film / video-essay in the current avant-garde landsca...

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Year-End Cramming, #7

Close Your Eyes (Víctor Erice, 2023)

About twenty years ago, academic studies o...

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Year-End Cramming, #6

Happy New Year, friends! Let's make it a good one without any tears, etc. I fell a bit behind on write-...

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25 Great Experimental Films of 2023

As we say goodbye to a very difficult 2023, I wanted to look back at some of the experimental films and videos from this year that inspired, entertained, and challenged me in the course of my viewi...

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(ALSO)

David and Abner, you still have the chance to contact me with your Lottery requests. If I don’t hear from you by the end of the first week in January, I will draw other subscribers’ names. But ...

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Year-End Cramming, #5

The Taste of Things (Tran Anh Hung, 2023)

Perfectly inoffensive middlebrow mater...

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Year-End Cramming, #4

Trenque Lauquen (Laura Citarella, 2022)

I've learned over the years that it's qu...

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Recent AI Works by Damon Packard

The films of Damon Packard are an acquired taste, to put it mildly. Although he is far too sophisticate...

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Year-End Cramming, #3

Memory (Michel Franco, 2023)

The last thing I want to do is oversell Memory<...

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Year-End Cramming, #2

La Chimera (Alice Rohrwacher, 2023)

Usually my opinion of a film is fairly consi...

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Year-End Cramming, #1

Yes, yes, it's that time again. Final grades are finally submitted, the lights are up along the eaves a...

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May December (Todd Haynes, 2023)

As is often the case with Todd Haynes' films, May December is organized according to a very sp...

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Fallen Leaves (Aki Kaurismäki, 2023)

The unavoidable familiarity of Fallen Leaves, together with its mere 80-minute runtime, initia...

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The Teachers' Lounge (İlker Çatak, 2023)

I went into watching The Teachers' Lounge rather naively, since I did not realize it won sever...

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Music (Angela Schanelec, 2023)

Before going any further, I invite you to read 2023-11-28 21:35:53 +0000 UTC View Post

Putney Swope (Robert Downey, 1969)

BY REQUEST: Robert Davis

"Where have you been?"

"Laying back ...

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Year-End Cram: Two Kinds of Disappointment

Frybread Face and Me (Billy Luther, 2023)

While Luther's debut film is nothing i...

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Lottery Time Again

It's fortuitous that this random selection is happening on (American) Thanksgiving. That's because over...

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