Eva has written 65 reviews for films with no rating.

  • 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..."

  • 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.

  • 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…

  • 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…

  • 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

  • Hi, Mom!

    Hi, Mom!

    'pigs audition inside'

  • Through the Forest

    Through the Forest

    "a woman of infinite spirituality"

  • Ginger Snaps

    Ginger Snaps

    succeeds where prestige horror fails, insofar as Ginger Snaps completely gets that the structuring metaphor(s) aren't enough by themselves. there's definitely insight here about puberty and sex themselves, but far more interesting is the profoundly human scaffolding built around it about what those traumas can do to relationships. idk it's just kind of wild to watch a horror movie that bothers with empathetic and sophisticated characterization when most contemporary horror cinema is either soulless art-horror or sadistic torture porn bullshit.