• Last Year at Marienbad

    Last Year at Marienbad


    in “Against Interpretation”, Susan Sontag posits that contemporary interpretation — specifically of content over form — only serves to degrade the visceral experience of art, aptly referencing this film in particular as one that combats this inclination. it’s a film that seemingly flees from interpretation, tossing breadcrumbs over its shoulder at the viewer with abandon, ultimately crystallizing in pure cinematic form. the film looms over the viewer like the palatial hotel therein, sidestepping conventional categorization, rejecting concise explanation of potential themes or symbols, demanding to exist as no more or less than exactly what it is.

  • The Holy Mountain

    The Holy Mountain


    4th annual Holy Mountain Day! and on the Sabbath too! praise be to the death of money and the meaninglessness of meaninglessness 🙏 💩 ⚱️

    (I urge everyone to create silly pseudo-religious holidays around their favorite films, and to consider celebrating Holy Mountain Day (8/8) in your own household next year)

  • Space Jam: A New Legacy
  • Fear Street: 1978

    Fear Street: 1978


    circumvents part one’s total lack of atmosphere and tonally mangled heavy-handedness in favor of a more primal urgency, although still functions as a spot-the-nods-to-more-successful-films exercise, but more than anything I’m excited for the potential these movies have engendered toward creative sequential release formats on streaming

  • Stop Making Sense

    Stop Making Sense


    finally got a chance to see this with a large enthusiastic crowd in LA’s Exposition Park. introduced by Tina Weymouth and Chris Frantz! downright euphoric and thoroughly rejuvenating!

    (the after-party DJ played LCD Soundsystem’s “All My Friends”!!)

  • Breakwater


    This review may contain spoilers. I can handle the truth.

    following one woman’s vulnerable recounting of a traumatic experience at a militarized protest — leaving them with debilitating anxiety and panic attacks in response to loud noises — they are held and consoled by two other women while they all sing through a barrage of New Year’s fireworks. it’s a penultimate moment so tender and restorative that it left me stunned.

  • Friends: The Reunion
  • The Orange Years: The Nickelodeon Story

    The Orange Years: The Nickelodeon Story


    Yeah, I’m losing my edge,
    I’m losing my edge,
    The kids are coming up from behind,
    I’m losing my edge.
    I’m losing my edge to kids from TikTok and from Twitch.
    But I was there.

    I was there in 1994.
    I was there at the final Rugrats episode.
    I was there at the premiere of All That.
    I’m losing my edge.
    I’m losing my edge to the kids whose Discord pings I hear when they get on the gecs (100).
    I’m losing my edge to the internet seekers who can tell me every character of every Nicktoon from 1991 to 2004.
    I’m losing my edge.

  • Lolita


    abhorrent and truly bizarre. a fundamentally broken adaptation, and such a woeful misreading of the source text that it manages to embody everything the novel condemned. bafflingly unwarranted.

  • Red Moon Tide

    Red Moon Tide


    part cosmic horror, part statuesque performance art, part love letter to a lush Galician seaside literally paralyzed by grief. thoughts are not spoken, but materialize as ruminative voiceovers dangling above lowered, vacant gazes. witches roam in the stillness. a ghost wanders. a droning roar arises from the ocean, covering everything like a thick fog. a slow devouring of the senses.

  • Süden


    liminal spaces

  • The 4th Annual Live 'On Cinema' Oscar Special

    The 4th Annual Live 'On Cinema' Oscar Special

    🎶 ooooooh MAD MAX! givin’ all the ladies heart attaaacks🤘