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  • Dr. T & the Women

    Dr. T & the Women


    altman at his most anarchic and trashy, a fever dream of half-ideas, cacaphonous dialogue, weird product placement (~godiva~), strangely wooden acting, cringey sex jokes. perversely kind of into it, and it’s so emphatically ‘what it is’ that it may even warrant more rigorous subsequent viewings. also find it incredible and hilarious that jean-marie straub likes this film

  • Anne of the Indies

    Anne of the Indies


    practically a seminar on the construction and mutability of sexual difference. the chiaroscuro night scenes are some of the most evocative and beautiful cinematography to be seen in tourneur’s nearly aesthetically unparalleled oeuvre. surely among tourneur’s greatest thrillers; perhaps his riskiest, most achingly erotic & even his most terrifying

Popular reviews

  • A Woman's Revenge

    A Woman's Revenge


    painterly, chilling, hypnotic, formally precise, thoroughly self-reflexive, sophisticated, conceptually dense, visually ravishing and yet it feels fundamentally quite simple and almost lighthearted (and consistently funny, if dryly so). there is enough subtle commentary on (and subversion of) the maleness of cinematic positionality to fill several feminist film theory textbooks. gomes’ influences (oliveira, dreyer, maybe straub-huillet, silent lubitsch, epic theater, etc.) are explicitly felt but her originality and formidable directorial craft (that blocking! that acting! that camera movement! that tonal control!) are undeniable; a (post-)brechtian narrative classicism for the 21st century!

  • Mogambo



    the final sequence—a flight from the dense (and likewise subversive) dramatic ‘individualisms’ of the immediate plot into a radical, almost utopian fantasy of narrative reconciliation through love’s elective affinities (in the form of actualized love between a kelly-humbled vic and a newly empowered, now-existentially committed kelly) held in ecological harmony with the enveloping atmosphere of nonetheless incommensurable Otherness (the chanting of the natives, the mythic african landscape) that permeates the film, while preserving their constitutive difference—is both among ford’s most poetic and most political