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Smoking Causes Coughing (Quentin Dupieux, 2022)

The title Smoking Causes Coughing is a statement of direct causation. Doing this will lead to ...

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Blue Jean (Georgia Oakley, 2022)

Debut films are hard, and it's often easy to overlook some formal or narrative missteps. Everyone has t...

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A Respectable Woman (Bernard Émond, 2023)

Despite a 20-year career, Quebecois director Bernard Émond remains a bit of a mystery even to many of ...

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The Divide [La Fracture] (Catherine Corsini, 2021)

As incongruous as it may seen, I found myself thinking about the recent films of Adam McKay while watch...

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Coconut Head Generation (Alain Kassanda, 2023)

I don't have a lot to say about Coconut Head Generation, an informative but flawed documentary...

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Yanagawa (Zhang Lu, 2021)

Back in 2014, when TIFF was still doing its City to City program(me), I covered the entire slate of fil...

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Cruces (Maximilien Luc Proctor, 2023)

BY REQUEST: Florian Weigl

The usual disclaimers apply. Max and I are friends, an...

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Eight Hours Don't Make a Day (Rainer Werner Fassbiner, 1972)

BY REQUEST: Jacopo Fiorancio

Having now watched all five episodes (and indeed, a...

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Enys Men (Mark Jenkin, 2022)

One benefit of going to commercial cinemas to see movies no one else wants to is that, when a few other...

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Knock at the Cabin (M. Night Shyamalan, 2023)

Read the room, Night. This is a terrible time to be making such an incoherent statement about gay paren...

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The Lottery (Subscriber's Choice)

This weekend I'll finish Eight Hours Are Not a Day, and hopefully post about it by Monday.

...

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Leila's Brothers (Saeed Roustaee, 2022)

“Dostoyevsky Iranian style,” reads one positive review of Leila’s Brothers, the third fe...

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Almost Entirely a Slight Disaster (Umut Subaşı, 2023)

Umut Subaşı’s debut feature is a curious beast. In many regards it is quite accomplished, and displ...

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The Face of the Jellyfish (Melisa Liebenthal, 2022)

In 2019, Argentinian filmmaker Melisa Liebenthal released a short film called Aquí y Allá (...

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Astrakan (David Depesseville, 2022)

Astrakan, the debut feature from David Depesseville, is a film that is at once deeply humanist...

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A Few Preliminary Words about....

Eight Hours Don't Make a Day (Rainer Werner Fassbinder, 1972)

At this point I've...

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Two Upcoming Reviews

Today I started watching Fassbinder's Eight Hours Are Not a Day, and what do you know? It's ab...

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A Flower in the Mouth (Éric Baudelaire, 2022)

The more films I see by Éric Baudelaire, the less I understand what he's up to. They all seem so diffe...

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Utama (Alejandro Loayza Grisi, 2022)

BY REQUEST: Gavin Petty

Over the years I've discovered a common trait among many...

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Parafango (Charles Atlas, 1984)

Among the major video artists of the 80s and 90s, Charles Atlas doesn't have the reputation he deserves...

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There Once Was a Singing Blackbird (Otar Iosseliani, 1970)

BY REQUEST: Kirk Johnson

Well, it was kind of inspiring to see that even at the ...

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Brother and Sister (Arnaud Desplechin, 2022)

There has been a strong surge of anti-Desplechin sentiment brewing over the past few years. The critica...

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in water (Hong Sang-soo, 2023)

Allegedly kept out of the Berlinale competition for being "too weird," in water certainly has ...

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Laberint Sequences (Blake Williams, 2023)

The usual disclaimers apply. Blake and I are friends, and while I have been a pretty consistent fan of ...

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RANDOM SUBSCRIBER SWEEPSTAKES!

You asked for it, you got it! Using a random number generator, the following three subscribers have bee...

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I'm Thinking....

I have been a bit distracted from watching older movies lately, mostly because of year-end polls. Now I...

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R.M.N. (Cristian Mungiu, 2022)

The title R.M.N. refers to an M.R.I., whose initials in Romanian are R.M.N. But of course, View Post

Nostalgia (Mario Martone, 2022)

A funny thing happened while I was originally composing this review. I got about a paragraph out, which...

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Cairo Conspiracy (Tarik Saleh, 2022)

When Tarik Saleh's Cairo Conspiracy (or Boy From Heaven, as it was called at the time...

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Infinity Pool (Brandon Cronenberg, 2023)

Let's Go Brandon! In terms of evocation of mood, inarticulate menace, and a batshit approach to visuals...

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