shining wizard

Ask me anything   Song in my head   

mostly a diary to keep track of the films i've seen.

Freeway II: Confessions of a Trickbaby (Mathew Bright, 1999)

the best American fiction film of the 90’s. all wimp trash cinema splashes around in a kiddie pool in comparison. so much so that it’s offensive - the wastes of space, time and celluloid that don’t draw from and reach as perfectly high and low as this; that don’t exist on more than their whining pleads to (and invariable failure to) shock. and Natasha Lyonne is this world’s greatest swearer.

Freeway II: Confessions of a Trickbaby (Mathew Bright, 1999)

the best American fiction film of the 90’s. all wimp trash cinema splashes around in a kiddie pool in comparison. so much so that it’s offensive - the wastes of space, time and celluloid that don’t draw from and reach as perfectly high and low as this; that don’t exist on more than their whining pleads to (and invariable failure to) shock. and Natasha Lyonne is this world’s greatest swearer.

— 10 hours ago with 3 notes
#freeway II  #confessions of a trick baby  #last movie i saw  #A 
Afternoon (Angela Schanelec, 2007)

Afternoon (Angela Schanelec, 2007)

— 2 days ago
#nachmittag  #afternoon  #last movie i saw  #A- 
The Video Dead (Robert Scott, 1987)

sometimes, despite (or maybe because of) a lack of budget, resources, “talent,” etc., things work out so well. horror in the right hands.

The Video Dead (Robert Scott, 1987)

sometimes, despite (or maybe because of) a lack of budget, resources, “talent,” etc., things work out so well. horror in the right hands.

— 3 days ago with 1 note
#the video dead  #last movie i saw  #A- 

In Our Time (Tao Teh-chen, Edward Yang, Ko Yi-chen & Chang Yi, 1982)

the Taiwanese new wave manifesto. or one of them. four segments, spanning childhood, adolescence, university-age and burgeoning adulthood; the 50’s until 1982. some of the segments give hope of what was to come more than others, particularly (and obviously) Yang’s; but also Tao Teh-chen’s, which seems to be the only thing he ever did except for an acting part in A Time to Live, a Time to Die. only film thing he ever did, i mean. i’m sure he’s led a fulfilling life.

— 3 days ago with 2 notes
#光陰的故事  #in our time  #last movie i saw  #B+ 
Night Nurse (William A. Wellman, 1931)

Night Nurse (William A. Wellman, 1931)

— 3 days ago with 5 notes
#night nurse  #last movie i saw  #B+ 
The Celluloid Closet (Rob Epstein & Jeffrey Friedman, 1995)

i know it was its intention but sometimes it seemed too Hollywood-centric, especially with so many great queer underground movies running parallel to everything they covered. maybe it’s in the book. anyway, v. good and now i have another long list of movies to watch. 1. Cruising.

The Celluloid Closet (Rob Epstein & Jeffrey Friedman, 1995)

i know it was its intention but sometimes it seemed too Hollywood-centric, especially with so many great queer underground movies running parallel to everything they covered. maybe it’s in the book. anyway, v. good and now i have another long list of movies to watch. 1. Cruising.

— 4 days ago with 1 note
#the celluloid closet  #last movie i saw  #B+ 
Love Letter (Tanaka Kinuyo, 1953)

her debut as director, a career decision that made Mizoguchi cut all ties with her. what an arsehole. a man earns money translating and writing love letters for women to their GI boyfriends. the letters are supremely poetic, fitting if not a sentiment of love then the desperation for survival they’re sent out with; and fitting the lovelorn heart of the translator. and guess who he meets doing this but the cause of that lovelorn, who he lost contact with during the war and whose letter to him he’d been carrying around all this time.

not as delicate as the Mizoguchi, Naruse, Ozu troika but not everything has to be. it hits. it also has with it this wonderful emphasis on hostesses, waitresses, shop girls, nurses, prostitutes, etc. as if to highlight post war/occupation Japan’s saviours and shoulder-bearers: its women. full of compassion, full of reality, full of stars. Tanaka herself cameos as a landlady; Ryu Chishu cameos as Man Cloak-Checking His Hat.

Love Letter (Tanaka Kinuyo, 1953)

her debut as director, a career decision that made Mizoguchi cut all ties with her. what an arsehole. a man earns money translating and writing love letters for women to their GI boyfriends. the letters are supremely poetic, fitting if not a sentiment of love then the desperation for survival they’re sent out with; and fitting the lovelorn heart of the translator. and guess who he meets doing this but the cause of that lovelorn, who he lost contact with during the war and whose letter to him he’d been carrying around all this time.

not as delicate as the Mizoguchi, Naruse, Ozu troika but not everything has to be. it hits. it also has with it this wonderful emphasis on hostesses, waitresses, shop girls, nurses, prostitutes, etc. as if to highlight post war/occupation Japan’s saviours and shoulder-bearers: its women. full of compassion, full of reality, full of stars. Tanaka herself cameos as a landlady; Ryu Chishu cameos as Man Cloak-Checking His Hat.

— 4 days ago with 2 notes
#恋文  #love letter  #last movie i saw  #A- 
The Wild Child (Francois Truffaut, 1970)

The Wild Child (Francois Truffaut, 1970)

— 5 days ago with 5 notes
#l'enfant sauvage  #the wild child  #last movie i saw  #B+ 
La Captive (Chantal Akerman, 2000)

La Captive (Chantal Akerman, 2000)

— 1 week ago
#la captive  #last movie i saw  #A-