๐‘น๐’๐’ใ‚ท๏ธŽ

๐‘น๐’๐’ใ‚ท๏ธŽ

Favorite films

  • Taxi Driver
  • The Shawshank Redemption
  • Mirror
  • Persona

Recent activity

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  • Easy Street

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  • Fanny and Alexander

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  • 10 Things I Hate About You

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  • The Neighbors' Window

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Recent reviews

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  • Fanny and Alexander

    Fanny and Alexander

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    What do we need to procure a powerful imagination? A childhood steeped in traumatic events, emotionally supportive family members, being exposed to various quirky people, enriching early experiences, long hours of solitudeโ€ฆ. Ingmar Bergman in Fanny and Alexander, his ode to the origins of imagination, suggests that all of the above is true. Fanny and Alexander regards family through the curious, innocent eyes of a child, observing its illusions and relating its painful truths. Bergman equates family and adulthood toโ€ฆ

  • La Haine

    La Haine

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    La Haine is a phenomenon, in that it is an abnormal, a surprising, and a rare event in French filmmaking, so often inhibited by the legacy of the New Wave. Presented in a stark but beautiful monochrome palette, La Haine holds nothing back. The narrative explores a wealth of topics including race, masculinity, police brutality, poverty, the aimlessness of youth and societal expectations. In most cases, this would be too much material to cover coherently in a film; however, theโ€ฆ

Popular reviews

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  • The Power of the Dog

    The Power of the Dog

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    Twelve years after her last film, Jane Campion returns to the scene of feature-length filmmaking with the slow-burn, neo-western The Power of the Dog โ€” A haunting study of masculinity and repressed desire.

    "What kind of man would I be if I didn't help my mother?" So says Peter (Kodi Smit-McPhee) at the start of "The Power of the Dog," Jane Campion's quiet-yet-menacing neo-Western. We hear Peter say these words before we've even met him, and it will take almostโ€ฆ

  • Pierrot le Fou

    Pierrot le Fou

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    The films of Jean-Luc Godard, that great iconoclast of the French New Wave, have always been so mired in an esoteric miasma of philosophical/pop-cultural minutiae that attempting to decode them for their intended interior meanings is an exercise not only of futility but of insanity. Not only is an exhaustive knowledge of Marxist philosophy essential, but so is an encyclopedic familiarity with the cinema, both American and European, patrician and popular. So if only Godard can truly understand and appreciateโ€ฆ