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  • Ode to the Goose

    Ode to the Goose

    ★★★½

    My first Zhang Lu, but this feels kind of like the Omega Hong Sang-soo movie — like six different existing Hong movies stitched together into one, yet somehow maintaining precise relational dynamics. Moon So-ri is absolutely phenomenal here. And more bonus points for a vertible Twin Peaks-ian twist.

  • Winter After Winter

    Winter After Winter

    ★½

    New Chinese Cinema’s slowest slow cinema auteur’s second film proves that his self-serious aesthetic is much less palatable at 110 minutes than it was at 73. Also this grinding dirge of a Sino-Japanese War movie (shot in black & white and inviting unflattering comparisons to Jiang Wen’s Devils on the Doorstep) is one of the darkest movies I’ve ever seen — and while I mean that literally, it’s also relentlessly dour.

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  • Neon Genesis Evangelion: The End of Evangelion

    Neon Genesis Evangelion: The End of Evangelion

    ★★★★★

    Anime in a-g.

    "I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't want to die. I don't…

  • The House That Jack Built

    The House That Jack Built

    ★★★★★

    ... Built into the multi-leveled architecture of what already feels like von Trier's greatest film to date is a relentlessly probing self-critique. The House That Jack Built resembles, at its foundation, various other predation and victimization narratives from throughout von Trier's filmography, stringing together vignette-like “incidents”—five in all—that depict brutal murders committed by Jack (Matt Dillon), an OCD-afflicted psychopath. But imbedded within the recognizable dramaturgy of von Trier's formally accomplished serial-killer film is the frame of an essay—an enthralling discourse…