Eva has written 102 reviews for films during 2019.

  • Sada


    Obayashi struggles against the deadening effects of narrativization with all his might: emotions burst forth, breaking the shell of historical fact and transforming into some of his most lushly composed and expressive images. truth can only be extracted in the form of sensations felt, while facticity becomes an obfuscating and defamiliarizing force. a major work.

  • The Mule

    The Mule


    very moving parable about achieving spiritual growth by fucking over your boss and the feds

  • Love in the Time of Twilight

    Love in the Time of Twilight


    time is luck

  • The Ghost and Mrs. Muir

    The Ghost and Mrs. Muir


    develops in gestures and tiny shifts in tone until it's grown into something colossal and devastating.

    "You'll never be tired again, Lucia..."

  • Eaten Alive

    Eaten Alive

    in which the murder of a sex worker stains the entire world blood-red, and the Nazi flag sits only a few feet away from its American counterpart. genre filmmaking at its most abrasive and electric.

  • The Day After

    The Day After

    gotta say that I much prefer Hong in this moralist-intellectual mode: his straight-up comedies are lovely collections of simple pleasures but they take on ethical weight only because of their position in a much larger structure (hardly a novel observation, but bear with me), whereas this film operates on a more immediately intelligible plane but retains the light touch of his earlier work. he also drops the overt metatextuality, allowing the world(s) to be structured and restructured by the actions…

  • Her Smell

    Her Smell


    the bipartite structure at play here (the first half a jumbled mess of dizzyingly rapid editing, barely intelligible monologuing; the second half drastically slowed down, stretching out those uneventful post-sobriety family scenes to sometimes excruciating lengths) is genuinely sophisticated, moreso than i would've expected from ARP. certainly there's still some formal overdetermination, especially in the first hour or so, but Moss & co. sell the logorrheic writing as the desperate rantings of terrified addicts, giving emotional heft to the pseudo-Shakespearean drivel.…

  • Truth and Illusion: An Introduction to Metaphysics

    Truth and Illusion: An Introduction to Metaphysics

    go off King

  • The Keep

    The Keep

    resists easy comparisons to Carpenter, probably has more in common with Mann's digital work than anything else, insofar as he's careening between the abstract and the material here. evil as a concept and evil as a practice in dialectical tension with each other, the abstract understood as fundamentally unreal (Mann's special effects avoid Carpenter's squelchy physicality in favor of an uncanny, not-quite-there quality) while completely tangible in its manifestations. Mann's classic Doomed Romance of a Professional Man plot is also…

  • The Discarnates

    The Discarnates


    cinema as nostalgia, cinema as regret. the intervention which creates the image decaying or otherwise rendering lifeless that which it seeks to capture. in the attempt to destroy the past we reanimate it, more ravenous than ever

  • Bastards



    the necrotic forces of wealth and power made elemental and metonymic, inhabiting the shadows of a dark road, the black of a woman's dress, the thudding of the rain itself

  • Transit


    the past and present echoing back and forth, each a ghostly reflection of the other. making lives into narratives is only possible in light of death, and tragedy only intelligible because the structures which produced it remain in place. lives are inscribed upon a landscape in flux, becoming something simultaneously fixed and fleeting. the best story about hauntings in recent memory