Review of The Gangs, the Oscars, and the Walking Dead (The News Lens International)

My review of The Gangs, the Oscars, and the Walking Dead (Jianghu Wu Nanshi / 江湖無難事 2019) has been published by The News Lens International. Though it isn’t a festival review, I caught the 2019 Golden Horse Film Festival screening, and the review benefits from a post-screening Q&A with the director, female lead, and one of the male leads. Check it out here!

Review of Queering Voices short films (The News Lens International)

My first short film review, of the short film selections for the “Queering Voices” section of the 2019 Women Make Waves Film Festival, based on complimentary media screeners, has been published by The News Lens International. The films are Mathias (2017), Switch (2018), A Great Ride (2018), and Hotel Oswald (2017). Check it out here!

Thoughts on My Days of Mercy (2017)

Editor’s note: This piece is part of a series on the 2019 Taiwan International Queer Film Festival.

My Days of Mercy (2017), Tali Shalom-Ezer’s death penalty lesbian rom-com written by Joe Barton, is a strange bird. The basic structure is very similar to Up in the Air (2009), with Ellen Page playing the George Clooney audience surrogate role, and Kate Mara as the Vera Farmiga outsider role. But whereas that film used its downtime to explore the depths of the Clooney character’s loneliness (with the help of Anna Kendrick), here the second focus is a serious, nuanced exploration of the aftereffects of execution by the state (with the help of Amy Seimetz and an adorable Charlie Shotwell).

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Art and the Limits of Morality: The Night Porter (Il portiere di notte 1974)

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

Liliana Cavani’s The Night Porter (Il portiere di notte 1974) is probably the most twisted film I’ve seen in my twenty-eight years of life on Earth. Not, it should be said, because of the sexual kinkiness, or even the portrayal of a twisted psyche, but because of what it threatens to do to the viewer’s vicarious identification. From an artistic perspective, it’s a pity the film doesn’t follow through.

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On Nonverbal Cinema: Obscure (2019) and The Color of Pomegranates (Nřan guynə / Նռան գույնը 1969/2014, aka Sayat-Nova)

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

Cinema began as a record of physical movement. The advent of sound brought it more in line with the naturalism of everyday life, but it also de-emphasized the camera’s possibility for intimacy. The last half-decade or so has seen a reversal on that front, with renewed arthouse attention to microgestures and minute shifts in affect. I’m thinking of films like Her (2013), Gone Girl (2014), 45 Years (2015), Moonlight (2016), A Ghost Story (2017), and Phantom Thread (2018), among others. (A Ghost Story would fit perfectly in this piece, too.)

Continue reading “On Nonverbal Cinema: Obscure (2019) and The Color of Pomegranates (Nřan guynə / Նռան գույնը 1969/2014, aka Sayat-Nova)”

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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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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