Thoughts on Men in Black: International (2019)

The quickest way to describe Men in Black: International (2019) is to call it a Marvel film that’s more allergic to sincerity and features worse acting. Chris Hemsworth and Tessa Thompson are both fine actors, but here the former (when not doing action scenes) is reduced to his Ghostbusters (2016) shtick, and the latter coasts along on a broad and blunt comedic performance. They do provide a handful of the obligatory GIF-able moments though, so mission accomplished!

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Thoughts on Hudson Hawk (1991)

This will be less a review of Hudson Hawk (1991), the Bruce Willis passion project directed by Michael Lehmann, and more an excuse to say two things about how I look at films.

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Thoughts on Dovlatov (Довлатов 2018)

Editor’s note: This piece is part of a series on the 2019 Taipei Literature Film Festival.

We in the West know about Soviet Realism, the dictum that art must be about how the State and Party lead the people to prosperity, but how does a society feel with only one kind of art? Dovlatov (Довлатов 2018), directed and cowritten by Alexei German, Jr., with Yuliya Tupikina, gives us a glimpse by following famous-late-in-life Russian émigré writer Sergei Dovlatov (a tone-perfect Milan Marić) around Leningrad for a week in November 1971 as he suffers isolation, rejection, indignities, and the loss of friends to death, arrest, and emigration—the lattermost an option he would finally take in 1979.

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Thoughts on The Lady Improper (Feifen Shounü / 非分熟女 2019)

Marketed as a midlife erotic coming-of-age film, The Lady Improper (Feifen Shounü / 非分熟女 2019), directed and cowritten by Jessey Tsang Tsui-shan with Link Sng based on Anna Lai Yuet-San’s story, follows Siu Man (Charlene Choi Cheuk-yin), whose husband and apparent first love (Deep Ng) has left her because penetrative sex is too painful for her, and who now has to navigate Hong Kong, her family restaurant’s impending closure, her father’s failing health, and her own desires as a single woman. The film is incredible for how one rotten apple—the script—spoils a truly stellar bunch.

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Love in a Fallen City: Transit (2018)

Editor’s note: This piece is part of a series on the 2019 Taipei Literature Film Festival.

The German fascists are taking Europe by force. Cities are closed off and raids are carried out block by block. If you disagree with the new regime or don’t have your papers in order, your best bet is to get yourself to Latin America (the US doesn’t want you), but with no flights, you’ll need a ship ticket, and transit visas for each place the ship stops en route. That entails long lines at various consulates, all while the number of ships at port dwindles one by one. Welcome to present-day France.

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L’art pour l’humanité: A Bread Factory, Parts I and II (2018)

Editor’s note: This piece is on the 2019 Urban Nomad Film Festival, and it benefits from two post-screening Q&As, and a subsequent panel discussion of which I was a part.

The question of the power of art is an ancient one. Confucius said, “If you do not study the Songs, you will be at a loss as to what to say.” And Plato had such a powerful view of the performing arts that he banned all poet-singers from his ideal Republic for fear their work would override people’s reason. But under the utilitarian logic of our contemporary neoliberal society, the question “What does art do?” has been reduced to a mere shadow of its storied history: “What can art do?” Writer-director Patrick Wang’s A Bread Factory (2018), four hours split right down the middle into two parts, ambitiously attempts to answer this question, not intellectually with auteur-surrogate characters spouting exposition, but performatively and cinematically, juxtaposing the contrast between bean-counting life and expansive humanist living in almost every one of its vignette-like scenes. Most audacious of all, the film doesn’t rest on its Manichean haunches; instead, it humanizes even the supposed antagonists, offering us the formal victory of art in the face of its thematic defeat.

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Thoughts on Free Solo (2018)

Free Solo (2018), the documentary by the married climber duo Elizabeth Chai Vasarhelyi and Jimmy Chin about Alex Honnold’s successful quest to be the first person to scale up the vertical face of Yosemite’s El Capitan in 2017 alone and without ropes or tools, is a vertiginous puzzle both visually and conceptually.

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The Museum Must Be Decolonized: The First Monday in May (2016)

The first Monday in May is when New York’s Metropolitan Museum of Art holds its annual Met Gala to raise money for the museum, especially for its Costume Institute; the Gala also serves as the opening night of a fashion exhibition at the Met. The First Monday in May (2016) is a documentary about the preparation for the 2015 iteration of this event, when the exhibition was China: Through the Looking Glass, on the influence of China on Western fashion, in cooperation with the Met’s Department of Asian Art. It turned out to be a record-breaking exhibition.

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Dialectics False and True: Captive State (2019) and A. I. Rising (Ederlezi ébredése 2018, aka Ederlezi Rising)

Look, most films are garbage; that’s just a fact. But sometimes when you go dumpster diving you find something that, when looked at from just the right angle, isn’t too garbage after all.

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