Funny Pages (2022)

Growing up in 1980s and 1990s pop culture, one myth was the idea that if you were a geek or a nerd, or if you had niche interests about arts, movies, comic-books, that made you more special and creative than the mainstream. I can’t point to any one text, but just the idea that if […]

The Eternal Daughter (2022)

The Eternal Daughter (2022) is not a horror movie, but a ghost story. It’s useful to make that distinction since it’s about eeriness and suggestion, using ghosts as a way of dealing with memory, uncertainty and unresolvable emotions. Joanna Hogg (Unrelated) reunites with Tilda Swinton (after her first short film, Caprice, and The Souvenir Part […]

Please Baby Please (2022)

Director-writer Amanda Kramer’s Please Baby Please (2022) reminded me of discovering Johnny Suede on SBS when I was young. The discovery of an arthouse American indie cinema morphing together the past and the present, a receptacle for a filmmaker’s fetishes. Empty alleys or street facades. Apartment interiors on a studio set. Creating a whole situation to let make-up, hair, […]

Matt And Mara (2024)

Mumblecore gets a bad rap. I assume it’s the name, which most of the filmmakers lumped into that sub-genre didn’t care for. And don’t get me wrong, some of those movies are annoying and bad. Friends and I who got into those films were mainly responding to Andrew Bujalski’s first two films. Cassavetes was an […]

Benediction (2021)

Benediction (2021) was British director Terence Davies’ final film before he died in 2023. Experiencing it after recently seeing his first film, Distant Voices, Still Lives, was very interesting with their intersections. Distant Voices, Still Lives is an autobiography by Davies of his family growing up in working class Liverpool. In contrast, Benediction is a […]