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  • Full Moon in Paris

    Full Moon in Paris

    β˜…β˜…β˜…β˜…β˜…

    Instantly one of my favorite Rohmer movies. An entire treatise on his major preoccupation, the one which can be found throughout the entirety of his work: the dissonance between language and desire.

    He who has two women loses his soul. He who has two houses loses his mind.

    Carving out a separate physical space for oneself as an external representation of an internal splitting; Ogier's character is not just juggling two different apartments but two different selves. No wonder she goes a bit crazy (then again, we could always blame it on the full moon).

  • Antoine and Colette

    Antoine and Colette

    β˜…β˜…β˜…β˜…Β½

    Trying to think of another film that captures the essence of love as successfully as this, and I'm not sure I can. The first two thirds are absolutely joyous, the last is crushing. Truffaut taps into something universalβ€”the intrinsically melancholy nature of humanity, the endless folly of romance that only adds fuel to its fireβ€”and he does it in just 30 minutes!

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  • Padmaavat

    Padmaavat

    Β½

    When a film has to start off with a disclaimer clarifying that they don't, in fact, condone sati, you know it's gonna be bad.

    I find it hilarious that Modi's fascist cronies threw a fit over Padmaavat's release when it's pretty much the Hindutva propaganda film of their dreams. This is literally just a far-right mystification of history, complete with savage Muslim villains and noble Rajput heroes (who won't shut up about how noble they are).

    Yes, Bhansali makes some…

  • Autumn Sonata

    Autumn Sonata

    β˜…β˜…β˜…β˜…β˜…

    Autumn Sonata asks: what would happen if you gave the two greatest actresses in Sweden's history one of the most psychologically penetrating, deeply evocative scripts ever written? Add to that Bergman's expressionist direction (not to mention eye for color!), and you've got one of the finest films ever made.