msicism

Pedestrian At Best (Part One)

In my recent podcast discussion with the Great Peter Labuza (coming soon to an Internet near you), the prospect of writing about matters other than film was add...

Thunder Road (Jim Cummings, 2018)

I suppose in retrospect it makes sense that this was a short film first. The funeral is, indeed, a showstopping set-piece of anguished discomfort, and one could...

9 Fingers (FJ Ossang, 2017)

Apart from a couple of very stylish short films, this is my first engagement with "punk" filmmaker FJ Ossang. Granted, this is his most recent film, and I have ...

A Family Tour (Ying Liang, 2018)

In the midst of its scathing critique of the repressive government of the People's Republic of China, a totalitarian state that "disappears" its critics and rip...

Cold War (Pawel Pawlikowski, 2018)

Practically from the jump, there was no question that Cold War was one of the best directed and (perhaps even more to the point) best edited f...

not an entry on Aurora Borealis (Márta Mészáros, 2017)

I tried to watch this film, but it was a ghastly flavor of Europudding. It soon became clear that it was yet another story about (spoiler, I guess) a family wit...

Ash is Purest White (Jia Zhangke, 2018)

There are times when I feel a bit out of my depth with respect to a given film, and yet of course, despite this fact, I have feelings and reactions to it. At th...

Cinderella (Ericka Beckman, 1986)

On the web page for this film, there's a pullquote from P. Adams Sitney, who de...

Life After Love (Zachary Epcar, 2018)

The scene, as far as I can tell, is a parking lot beneath a BART station at twilight, a kind of stationary urban ark that can easily be mistaken for a ferry. Th...

An observation...

Thus far, I have 37 patrons. That's great! Thank you all so much. 

Oddly enough, that's 36 men and one woman.

I'm not sure if that says something about the current economy, about film criticism in general, or about my writing in particul...

From the Notebook of... (Robert Beavers, 1971/1998)

First, a word about the double date. Many of Beavers' films have two dates of completion, because he finished shooting the footage during the first listed year,...

Extreme Private Eros: Love Song 1974 (Kazuo Hara, 1974)

This is a film I'd been meaning to see for years, and I finally got around to it, now that I am doing research for my upcoming Diary Film course. As it happens,...

Mirror (Robert Morris, 1969)

Among the original group of minimalists, Robert Morris was probably the closest to a bridge figure between the emerging "primary structures" movement and the sl...

Field (Ernie Gehr, 1970)

Through the kind assistance of Mr. James Hansen, I was able to finally see one of the few classic Ernie Gehr films that had thus far eluded me, and it did not d...

A Season in France (Mahamat-Saleh Haroun, 2017)

Some films grab you immediately. In the first five minutes of Mahamat-Saleh Haroun's latest film -- his first made outside his native Chad -- we meet Abbas (Eri...

Diary Films: a course-to-be

Next semester I am teaching a couse called "The Diaristic Mode in Film and Video." I a currently working to compile films to include in the syllabus, and there is a pretty wide array, although I worry that there are films and filmmakers out there wor...

Wishing Well (Sylvia Schedelbauer, 2018)

I am a fan of Schedelbauer's work. Although there have been hundreds of "flicker films" and found footage films across the history of the avant-garde, her work ...

Barbara (Mathieu Amalric, 2017)

There are many international films that are so specific to their national culture and mythology that they simply don't circulate very much beyond their borders,...