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Today! 🚨 DIRECT ACTION directed by Ben Russell and Guillaume Cailleau Germany/France, 2024, 216 min (including intermission) @2220arts.bsky.social Doors: 12:30pm Screening: 1:00pm 🎟️ 🔗: link.dice.fm/Xe41f876a79c

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Been almost 30 years since I last watched SÁTÁNTANGÓ. It’s funnier than I remembered.

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Shin Godzilla co-director Higuchi Shinji dropped a new movie on netflix last week, a sequel to the 1975 classic The Bullet Train, called Bullet Train Explosion. I wrote about both of them right here for subscribers only. They're both very good movies, but in very different ways.

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In honor of the upcoming @jsfilmnyc.bsky.social retrospective on Naruse Mikio, I dug up and re-edited an ancient blog post I wrote about his silent film No Blood Relation. Also included is a resurrected link to the episode of They Shot Pictures we recorded about Naruse back in 2012.

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Lam Suet musical

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the thing that makes donald trump such a formidable political adversary is that he gets smarter and smarter each and every day

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when it comes to the nhl playoffs i would like to simply say, “play ball”

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The first of several amazing Acropolis 10th anniversary retrospectives: the work of Roberto Minervini, one of the key chroniclers of 21st century America, on the occasion of Grasshopper Film's release of his first narrative feature THE DAMNED!

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Announcing! 📣 A MORE PERFECT UNION The Films of Roberto Minervini For the first of Acropolis’ 10th anniversary programs, we are thrilled to welcome director Roberto Minervini for a complete retrospective running from June 13-23 @2220arts.bsky.social & Brain Dead Studios! acropoliscinema.com

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"Superlative." —Erika Balsom, @filmcomment.com.web.brid.gy Winner of the Encounters prize at the 2024 Berlinale, Ben Russell and Guillaume Cailleau's DIRECT ACTION makes its long-awaited Los Angeles premiere this Saturday at 1pm @2220arts.bsky.social! 🎟️🔗: link.dice.fm/Xe41f876a79c

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Spoke to Alex Ross Perry about PAVEMENTS, the state of rock docs and music biopics, DUNKIRK and MISHIMA as structural influences, the band’s response to the film and more. For @filmmakermagazine.com.web.brid.gy. Check it out! filmmakermagazine.com/130557-inter...

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Reminder again for Chicago-area folks that Doc Films are screening Edward Yang's The Terrorizers on 35mm tonight and tomorrow.

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April 2025 Top 5 First Views: FAT GIRL THE EMPEROR'S NAKED ARMY MARCHES ON HENRY FONDA FOR PRESIDENT EXTREME PRIVATE EROS: LOVE SONG 1974 BLUE COLLAR HM: Minamata Mandala, The Sugarland Express, Love Hotel, Nadja, Debut, Nightshift, Predators, Sinners, Happyend, Fire of Wind, Invention

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“The only real comparison that comes to mind is Godard. ... because of the way he sends out signals, often indirect, suggestive, and constructs, almost without seeming to, a network of references: places, colours, music, fragments and so on.” Isabelle Huppert on her work with Hong Sang-soo

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SINNERS: Can run a little too obvious and conventional at times, but Coogler’s canny laid-back rhythms hammer home the vivid value of his doomed community and their attempts to carve out a space for themselves; the seductive confrontations accrue no small amount of potency.

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Predator handshake but for Jia Zhangke and Hong Sangsoo fans

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LOVE HOTEL: The extremity of the central doomed couple’s emotions and actions is mirrored so well by Somai’s roving, inexorable long takes, an ecosystem of loneliness and desperation palpable as the perversity factor gets ratcheted up further; striking.

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New ep—EVERYBODY LOVES RAYMOND! Yes, our favorite guy, the Ray-est Ray who ever Rayed, RAY LIOTTA finally gets his own episode! 3 very different kinds of movies that each had us cackling with delight, KAREN! #rayliotta #killingthemsofty #somethingwild #noescape podcasts.apple.com/us/podcast/t...

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Appreciated DEVIL IN A BLUE DRESS much more this time; something in both Franklin’s bold classical sweep and Washington’s confidence (even as he’s often forced to be purely reactive) that’s electrifying even before Cheadle shows up and throws things into high gear.

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THE SUGARLAND EXPRESS: Recognizes the absurdity of its situations and beautifully utilizes it to illuminate codes of behavior that are forged and broken; Spielberg’s widescreen roads create the right scale, expansive yet easygoing. Kind of a revelation.

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DUEL: Strangely can run a little slack at times, and Spielberg’s grasp over the constant tension isn’t always firm, but the primal nature of the scenario and how it’s used to reveal masculinity on the precipice of madness remains compelling; definitely fun.

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NADJA: So freewheeling and enjoyable in Almereyda’s transposition of vampire mythology, casting modern New York as a hazy netherworld that’s both seductive and drained of life; the vivid style and ramshackle dramatics are continually, strangely compelling.

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JOHN LILLY AND THE EARTH COINCIDENCE CONTROL OFFICE: Maybe a little more straightforward than expected, but Almereyda and Stephens’s torrent of information cannily evokes their subject’s oddly waxing and waning scientific notoriety; great archive diving too.

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APRIL: Kulumbegashvili’s formidable formal instincts only sometimes connect with the somewhat threadbare conception of the forces closing in on her protagonist; still, the mood that’s conjured here is generally persuasive and hard to shake, disruptive yet unflinching.

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PREDATORS: Actively refuses to lean into sensationalism anymore than necessary, instead burrowing deeper into the dark hearts of mutating exploitation; Osit’s threading of his own perspective becomes inextricable from the film’s moral stakes. Heartbreaking.

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EXTREME PRIVATE EROS: LOVE SONG 1974: Unrelenting in the often fraught, sometimes genuinely loving interplay between director and subject, as Hara’s openness to unpredictable whims creates a bond forged by unbelievable actions. Astonishing in its boldness.

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MINAMATA MANDALA: The watchfulness of Hara’s style feels especially suited to this extended, decades-spanning chronicle of a community, never losing track of individual vigor but unafraid of extrapolating that out onto the wider struggle; certainly unwieldy but so moving.

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For @filmcomment.com.web.brid.gy on THE STUDIO, which nibbles the hand that feeds

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You, foolish: The Mariners’ injuries are going to be the downfall of a promising season. Me, wise: With every injury they become worse, which is the secret of their power

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sometimes people see my account for the first time and wonder how i have so many followers, so here you go: in 2023, i invented the kazoo. ~7.5 million people followed me because they believed i might be god (i'm not). ~7.2 million then unfollowed me because they fear god (no worries!). kaboom, 268k

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if i ever strike it rich first thing im doing is busting out the old check book and sending a cool $100 to every woman who ever sucked me of

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Saturday! ✊🏻 Join us this weekend for DIRECT ACTION, an immersive portrait of one of the most controversial Zone to Defend communities in France. Directed by Ben Russell and Guillaume Cailleau, the film won the Encounters prize at the 2024 Berlinale. 🎟️: link.dice.fm/Xe41f876a79c

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Interesting development on the state of Shaw Brothers studios. A nine-woman team led by fashion stylist Tina Liu is currently cataloguing all 40,000 costumes left at Shaw Movietown. This does feel like a lead-up to the land being redeveloped, though...

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Nothing but the utmost respect for Louis Koo's hustle.

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hey folks! some of you may remember that i used to have a patreon-supported blog on medium. i abandoned that form of writing a while ago, but i've decided to revive it on substack! i'm starting with a piece on Sinners capybaroness.substack.com/p/what-is-si...

submitted 10 days ago • 3 comments