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Favorite films

  • Corps aboli
  • Carolyn III
  • The Olympian
  • Falling. Desert. Syn

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  • The Curse of the Cat People

    ★★★

  • Apparent Motion

    ★★★★★

  • Poetry and Truth

    ★★★★★

  • Dance Chromatic

    ★★★★

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  • Gammelion

    Gammelion

    ★★★★★

    In traditional Japanese aesthetics the notion of the “cut” [kire, 切れ] is actualised in a variety of their arts as the expression of the Zen principle that seeing into one’s nature, their fundamental being, can only be realised after having “cut off the root of life”, that is severed it from the place and temporality it’s “at home” in. Within the art of ikebana (flower arrangement), the Kyoto school philosopher Keiji Nishitani discusses this as such:

    The essential difference [between…

  • The Hedge Theater

    The Hedge Theater

    ★★★★★

    Broadly, we could say that Beaver’s films are films of economies. As much as they are about changes of state, modifications, and processes, they are also about sense, the pure events or ‘incorporeal effects’ it expresses, and the production of language. A good way of thinking about this is with the Stoic notion of lekta. Lekta, “sayables”, enable humans to communicate changes in states of affairs (effects); they can be regarded as a “sense that adheres to bodies and their…

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  • Eyes Wide Shut

    Eyes Wide Shut

    ★★★★★

    Kubrick often wanted to get ‘under the skin’ of humanity; something transcendental which could illuminate the path forward as much as it swallows up the one behind us. From the grand teleology of 2001 to the ghastly imprints of History in The Shining, Kubrick saw humanity as fundamentally manipulated by forces which rose above the local, connecting dots that seem disconnected to those involved. Of course, this isn’t to say that we don’t have the power of choice (we certainly…

  • The Sea of Ravens

    The Sea of Ravens

    ★★★★★

    ‘Story’ had always been one of those unfortunate obstacles for Epstein on his journey towards the ‘cinematic’, towards “photogénie”. Known as a promising artist from before his first film, yet forced to work with Pathé’s treatments—material which he didn’t always consider ‘the best’, shall we say—tempering some degree of his radical aspirations, Epstein nonetheless sought out and developed new techniques, new methods of expression, taking delight in the intervals of the stories he was given (whenever they presented themselves) in…

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  • Can't Get You Out of My Head

    Can't Get You Out of My Head

    ★½

    As with any project approximating this kind of approach to a politico-historical theme, there is a selection of material here that necessarily chooses certain things while leaving other things out. Obviously, there is thus a danger of misrepresentation in how this theme—only ever something partial—is represented as relating to the social totality. This series discusses the failures of revolutionary movements and the destruction of gains made by the labour movements in the West which led to the extension of the…

  • Wife of a Spy

    Wife of a Spy

    ★★★★

    "He's a businessman, not an enemy."

    Like all of Kiyoshi Kurosawa's best films, the transformations that this narrative undergoes operate as if the central character's perceptions of the conflicts around them have been extended into the form of the film itself. What struck me most immediately about this work was its interest in the conflict between cosmopolitan business interests—always seeking to supersede state boundaries and borders—and the interests of the nation-state, tied inextricably to a sense of irrationalism, which are…