Favorite films

  • Salò, or the 120 Days of Sodom
  • Antichrist
  • Caché
  • Histoire(s) du cinéma

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All
  • Taxi Driver

    ★★★★★

  • Dear Evan Hansen

  • L'Argent

    ★★★★★

  • The Devil, Probably

    ★★★★★

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  • Taxi Driver

    Taxi Driver

    ★★★★★

    Schrader's debauched conversion of the Bressonian loner is adapted by Scorsese with the culturally insecure attitudes of the United States, especially in its post-Vietnam War era. Drifter Travis Bickle resembles the American lost in a nonexistent dichotomy between tradition and progress. The camera wanders like its vehicular symbol the streets of New York, filthy and in need of purification, at least in the eyes of the protagonist, backed by Bernard Herrmann's eerily smooth score. No better has an identity been captured than in this signature masterpiece which needs nary a description beyond one of the best films ever.

  • Dear Evan Hansen

    Dear Evan Hansen

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

    While the Broadway version isn't much better, it has a more fulfilling sense of self compared to Stephen Chbosky's disastrous adaptation. His direction, for one, is stilted and inert which for 95% of musicals is antithetical to the medium. Moreover, the stripped down aspects from less comedy that made the musical a bearable viewing to the removal of importance pieces such as "Anybody Have a Map?" and "Good For You," incidentally both making the film's best character Heidi, Evan's mother,…

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  • Au Hasard Balthazar

    Au Hasard Balthazar

    ★★★★★

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

    I see inspirations to be found within Au Hasard Balthazar: Pasolini's depiction of torture in Salo through Marie's final, devastating image; Dumont's vagabond in Hors Satan through Bresson's drunkard; and practically all of Haneke's filmography is indebted to the cold framing of Bresson's (in)humans. Having viewed the film a few years back, the impact of Bresson's own inspired project, lifted from a passage from Dostoevsky's The Idiot, has not lessened an iota, but, on the contrary, increased by a respectable…

  • Lancelot of the Lake

    Lancelot of the Lake

    ★★★★★

    Religion inspires; honor persists; and men overwhelm. The Arthurian legend, bound by medieval codes of chivalry, might be adapted by Bresson in his brilliant Lancelot du lac, but the reserved director removes every hint of glamour or glory within the battles, physical or spiritual, which devour Lancelot and his fellow knights. Besides the opening sequence, where three knights are killed onscreen, blood animating otherwise placid frames, Bresson refuses to present the confrontations of these haughty men. A jousting tournament becomes…