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msicism

msicism

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msicism posts

at cross purposes...

In the off hours, I've tried to stay busy, but often this has meant a lot of projects begun with the best of intentions that have proven destined to remain half-finished. Recently, I thought I would attempt to construct a crossword puzzle, mostly ...

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Bruce Baillie (1931-2020)

Bruce Baillie: consummate filmmaker of the West Coast avant-garde. Co-founder of Canyon Cinema. Instigator of what would become SF Cinematheque. We know ...

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Days (Tsai Ming-liang, 2020)

THIS REVIEW CONTAINS SPOILERS.

Above is a still from the first shot of Tsai Ming-liang's latest film, his first feature in seven y...

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Wilcox (Denis Côté, 2019)

It's strange. It seems patently obvious that Denis Côté is the most consistently interesting director currently working in French Canadian cinema, but ...

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Window Boy Would Also Like to Have a Submarine (Alex Piperno, 2020)

THIS REVIEW CONTAINS MAJOR SPOILERS.

Destined to go down in the Wacky Title Hall of Fame, alongside Teenage Hooker Became Kill...

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My First Film (Zia Anger, 2018)

As a special presentation during these days of international lockdown, filmmaker / artist Zia Anger has been recently conducting live streams of her film...

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Two Recent Short Films: Going Home Again

Signal 8 (Simon Liu, 2019)

Simon Liu's films are characterized by a tactility that lands somewhere between the grungy and the ethe...

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The Invisible Man (Leigh Whannell, 2020)

SOME SPOILERS FOLLOW.

I understand why so many critics are impressed with The Invisible Man. There's a lot that's impress...

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The Cordillera of Dreams (Patricio Guzmán, 2019)

As Guzmán states in the voiceover of his latest essay film, this is the twentieth film he has made about his native Chile, most of them having been made...

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Sibyl (Justine Triet, 2019)

Sadly, thanks to the unmatched global distribution of COVID-19, there will most likely be no 2020 Cannes Film Festival. When you consider that Cannes is ...

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Red Moon Tide (Lois Patiño, 2020)

This is the second feature, and the first fiction work, from Galician auteur Lois Patiño, whose short film Night Without Distance, from 2015, w...

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małni – towards the ocean, towards the shore (Sky Hopinka, 2020)

Sky Hopinka is a fascinating filmmaker for a number of reasons. Not only is he one of the most prominent experimental filmmakers of the moment; he is als...

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More to come....

More to come....

It's just been a bit crazy, you know?

And also, if you need to unsubscribe at this time, seriously, don't give it a second thought. Don't be spending your TP money here!

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The Metamorphosis of Birds (Catarina Vasconcelos, 2020)

Although this film has certain specific points of reference -- I'll get to that in a minute -- there is something rather singular in the way it is assemb...

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System Crasher (Nora Fingscheidt, 2019)

Honestly, I'm not going to pretend that I understand film distribution anymore. Here's a film that was very successful in its native Germany, won the (no...

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Uppercase Print (Radu Jude, 2020)

Romanian director Radu Jude's previous film, "I Do Not Care If We Go Down In History As Barbarians" (quotations marks are part of the official t...

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Still Processing (Sophy Romvari, 2020)

In French, the word for photographic developer -- the chemical itself -- is révélateur, which is a reminder of the power contained within what...

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Two Short Takes

Z = |Z/Z•Z-1 mod 2|-1: Lavender Town Syndrome (Andrew Norman Wilson, 2019)

I enjoyed this structuralist mini-narrative quite a b...

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My Nudity Means Nothing (Marina de Van, 2019)

Although Marina de Van has made two feature films in the interim, it feels very much like her latest, My Nudity Means Nothing, is a conceptual f...

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The Wolf House (Cristóbal León and Joachín Cociña, 2018)

Although I am sure to see films this year that are somewhat better than The Wolf House, I will be quite surprised if I see one that is as unique...

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The Hart of London (Jack Chambers, 1970)

In Bart Testa's essay on Jack Chambers' experimental classic The Hart of London, he compares the film to two other feature-length Canadian avant...

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An Algorithm (Bette Gordon, 1977)

An Algorithm (Bette Gordon, 1977)

Filmmaker Bette Gordon is probably best known for her 1983 feature film Variety, an experimental narrative from New York's Downtown scene that actually attained some commercial and critical traction. Focused on a young woman (Sandy McLeod...

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Deerskin (Quentin Dupieux, 2019)

I've been on the fence about this guy for a while now. I thought his second film Rubber was a clever bit of deadpan surrealism, and I appreciate...

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Beanpole (Kantemir Balagov, 2019)

No, I didn't forget. But my review of Beanpole will be in the next issue of Cinema Scope. Here's a sample sentence:

" Shot through with a ...

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The Traitor (Marco Bellocchio, 2019)

I don't know Bellocchio's work as well as I should, having seen only four of his films to date. However, the other three films of his I've seen -- My...

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Fruit of Paradise (Věra Chytilová, 1970)

What a dazzler. Chytilová's fifth feature, and her follow-up to her stone masterpiece Daisies, Fruit of Paradise actually played in co...

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Sisters With Voices

Miss Americana (Lana Wilson, 2020)

Linda Ronstadt: The Sound of My Voice (Rob Epstein and Jeffrey Friedman, 2019)...

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A Valparaíso (Joris Ivens, 1962)

This lovely short film (just under 30 minutes) is a poetic study of the titular port city in Chile, and it's an instance where physical geography lends i...

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State Funeral (Sergei Loznitsa, 2019)

I run hot and cold with Loznitsa. He pretty much make three different kinds of films: narrative fiction films, contemporary documentaries, and archival f...

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Midsommar (Ari Aster, 2019)

Much to my surprise, I ended up quite liking Midsommar. I don't want to give too much credence to this dodgy "elevated horror" concept, but I th...

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