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  • Fireworks

    Fireworks

    ★★★★

    faggy

  • Lot in Sodom

    Lot in Sodom

    ★★★★★

    in contrast to Kenneth Anger's Fireworks, which posits gay desire as flammable, incendiary, always ready to erupt in a burst of violence and be reborn, here it is fire itself, and, further, the fire which consumes itself. from below, from above, there is flame, consumption, destruction, sometimes avaricious and sometimes punitive, bodies melt and flicker, dreams bleed through reality and awaken the holy. the spectator becomes entombed through and for that very act, frozen in eternal contemplation of the spectacle of abject desire's abject end. wish it were more pornographic tho if we're being honest

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  • Twin Peaks: The Return

    Twin Peaks: The Return

    ★★★★★

    What makes Lynch so fascinating is that he’s a conservative whose aesthetic tendencies (unerring empathy for/centering of his female characters, a proclivity for exploring dysphoric relationships between persons and their bodies/bodies and the world, and an affinity for the cynical epistemology of the noir) constantly undermine his nostalgic and otherwise regressive gestures. Nowhere is that more apparent than in The Return, a colossal moral reckoning with the willful failure of each and every available institution (cultural/political/social) to reckon with trauma.…

  • The Blair Witch Project

    The Blair Witch Project

    ★★★★★

    on the violent impositions of movie-making, the mere force of a video camera's gaze enough to draw out a hidden evil in the placidity of an essentially anonymous landscape. baffled that anyone could watch this and demand less talking, less arguing, because honestly there's nothing more purely dread-inducing here than the pointless circumambulations that people engage in when they're terrified and have no fucking clue what they're doing. the terror is built with negative space, visually and narratively, the absences…