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.

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

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Ten-Year Anniversary Review of Mr. Nobody (Critics at Large)

I wrote a ten-year retrospective of Mr. Nobody (2009/2010), even though I saw the director’s cut, released a year later. Anyway, here it is!

Thoughts on Half-Life in Fukushima (Demi-vie à Fukushima 2016)

Mark Olexa and Francesca Scalisi’s documentary Half-Life in Fukushima (Demi-vie à Fukushima 2016) is an hour-long glimpse into the life of Naoto Matsumura, a man of almost sixty years of age who refused to evacuate with his wife and son, instead staying with his elderly father. The film follows him around as he takes care of his livestock and other affairs, and nothing too formally special is needed or deployed: The mere existence of these arresting images of abandoned civilization, often in long takes, is enough to continuously remind us that everything we see is radioactive.

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The Interpretation of Dreams: On the Beach at Night Alone (Bamui Haebyeoneseo Honja / 밤의 해변에서 혼자 2017)

There seems to a a trend of metafiction in South Korean arthouse. Before Burning (2018) there was On the Beach at Night Alone (Bamui Haebyeoneseo Honja / 밤의 해변에서 혼자 2017), by Hong Sang-soo and starring his real-life mistress (now partner) Kim Min-hee as Young-hee, a former mistress of a great Director (Moon Sung-keun). It’s also a slow burn, with the central affair merely hinted at for most of its running time. But Kim gets two stupendous set-pieces, all facilitated by alcohol, and she burns it all down.

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