Eva has written 102 reviews for films during 2019.

  • Nowhere



    it's like we all know, deep in our souls, that our generation is gonna witness the end of everything

    even more struck on rewatch by the way Araki turns these characters' bedrooms into purely expressive objects, the libidinal ebbs and flows, the dramas of self-destruction and self-indulgence all playing out in a space paradoxically both external and internal. one of the most perfect documents (and documentations) of a culture for which apocalypse was not a prophecy but a fact. the sublimity of that final moment of unconsummated queer longing breaks my heart.

  • Day of the Dead

    Day of the Dead

    “this is a great big 14 mile tombstone with an epitaph on it that nobody [is] gonna bother to read”

    an anti-eulogy for America, boiled down to its bare bones in the form of the military and the amoral scientific apparatus attached to it. not so much “what if we’re the real monsters” as “monsters were always visions of us at what we believe to be our worst, and by destroying them (cinematically or practically) we attempt an impossible moral…

  • Cruising



    Whatever danger Cruising situates as indigenous to the gay S&M scene becomes contextualized not as the result of queerness itself (Friedkin, like Demme in Silence of the Lambs, takes time to specify through dialogue that this world is clearly delineated from ‘normal’ gay life) but as a pervasive hypermasculine ethos which is the result of the internalization of fascist symbolism into the queer community, and which is reflected in the police department’s similarly masculine operations. The more immediate danger originates…

  • The Visitor in the Eye

    The Visitor in the Eye


    love how this becomes Obayashi's take on Vertigo in the last half hour, which also boasts some of his most beautiful images of nostalgia, the sun shining so blindingly bright that it convinces us of the reality of ghosts

  • The Hole

    The Hole

    interesting to watch this after The Wayward Cloud, since the pop interludes here effect a considerably less drastic change on the mise-en-scene and work in a generally more ironic mode, whereas with The Wayward Cloud, perhaps because of that film’s decidedly less anomic milieu, the musical elements seemed to operate (mostly) in an almost emotionally direct register. the simplicity of the basic premise here is also quite compelling, the notion of crumbling infrastructure producing some fragmentary, imperfect connection between persons matching Tsai’s frames for both spareness and beauty.

    Alone together, in the dark
    come the carefree days of spring
    Why do they never part?

  • Southland Tales

    Southland Tales

    "We are a bisexual nation living in denial, all because of a bunch of nerds."

    "I'm fucking a very large and important man."

    "You need to become a racist cop."

    "I think I'm gonna rollerblade home now."

    "Once you get on the bang bus, you can never get off."

    "If you don't let me suck your dick, I'm gonna kill myself."

    "I'm a pimp, and pimps. don't. commit. suicide."

    Watching this movie has made my brain incredibly big and powerful. I wrote actual things about it here: medium.com/@azinck2000/notes-on-southland-tales-246dd17b04d1

  • Glass


    Will you stay with me in the light for a little while?

  • Céline and Julie Go Boating

    Céline and Julie Go Boating

    solidarity among girls explodes the bourgeois family melodrama, with all its stifling (and eventually murderous) rigidity, from the inside. every fragment of Western classical and popular culture-mythology, fairy tale, mysticism, stage magic, theatre, poetry, television, the list goes on-becomes nothing more than another doll for Celine and Julie's endless free-associative play.

    "but then, the next morning..."

  • The Hypothesis of the Stolen Painting

    The Hypothesis of the Stolen Painting


    Simultaneously a highly compelling visualization of the epistemology of art and a parody of the same. Always there is a missing link which fragments narrative and denies interpretability to art, and yet it is this lost piece which is most crucial. Are these nothing but the delusional rantings of an overeager auteurist? Given the eerie plausibility of the connection between bourgeois decadence and militarism drawn in the penultimate scene, I can’t say I’m totally convinced by that reading, but, of…

  • Village of the Damned

    Village of the Damned


    Not just a narrative of reproductive futurity and suburban capitalism self-destructing under the weight of internal contradictions, but also something far stranger and sadder, a study of grief as a magnetic force, an account of the attraction and repulsion between those who have lost. On what absolutely godly tier was Carpenter operating to take this, which should by all accounts be a fairly minor film, and turn it into something so potent?

  • Déjà Vu

    Déjà Vu


    definitely was not expecting this to be of a piece with both Twin Peaks: The Return and Romancing in Thin Air but all three are about using images (cinema) to rewrite the past and avert catastrophic trauma, and all three are defined, more or less, by the paradoxical success/failure of their protagonists. here, branching worlds literally hold two versions of the same woman, alive and dead simultaneously, Doug's goal achieved and not achieved forever. we can shatter the past, fragment and split it, but never simply change it: suffering remains.

  • To Sleep with Anger

    To Sleep with Anger


    “Some folks that are always running to help the victim, deep down, are attracted to pain and suffering...they love to be near the dying.”

    “When you’re made to feel half a man, well, what do you think the other half is?”