The Banality of Evil: Notes on an Appearance (2018)

Notes on an Appearance (2018), writer-director-editor Ricky D’Ambrose’s no-budget feature debut, runs an hour long but feels much longer, in both good ways and bad (the good and bad are mutually constitutive). D’Ambrose has made two shorts before, using them as experiments to prepare for Notes, and the thought and consideration that went into this film shine through.

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The Flaming Fist of Christ Compels You! The Divine Fury (Saja / 사자 2019)

What if the titular protagonist of Constantine (2005) was a mixed-martial arts fighter? What if he was really, really good? What if he could burn demons with his bare hand? Writer-director Kim Joo-hwan’s The Divine Fury (Saja / 사자 2019) answers these questions we never thought we had.

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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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Thoughts on Interview with the Vampire: The Vampire Chronicles (1994)

Vampire films are inevitably an allegory for something or other, and Neil Jordan’s Interview with the Vampire: The Vampire Chronicles (1994) (which is told through an interview with a vampire), which Jordan wrote uncredited based on Anne Rice’s book and first draft, is no exception. Tom Cruise of all people plays the vampire Lestat, who turns Louis (Brad Pitt) out of loneliness, and saves the “life” of Claudia (an outstanding eleven-year-old Kirsten Dunst) by turning her as well—she becomes the daughter of the two men’s subtextual marriage. Strangely, Claudia’s also the only character with whom we can fully identify.

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You Bloody Whoreson Gauls! Synonyms (Synonymes 2019)

In our era of resurging fascism, Israeli writer-director Nadav Lapid (and co-writer Haim Lapid) gives us Synonyms (Synonymes 2019), a primarily French film about the fascist prostitution of national identity. It’s an anti-bildungsroman, in which the protagonist starts off not knowing what he wants, and ends with the realization that what we wants can’t be found.

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Thoughts on Polder (2015)

I’m not gonna lie, Polder (2015), a Swiss-German co-production written by Samuel Schwarz and directed by Schwarz and Julian M. Grünthal, is a mess in three languages. The messy sci-fi has sequences in German, Japanese, and Chinese, but the incoherence has less to do with the multilingual conception and more to do with the complicated plot’s lack of context.

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Thoughts on Three Political Documentaries

In the spirit of our political age, I watched three political documentaries about prominent liberal American politicians (I vote Democrat, for what it’s worth); hagiographies they may be, but they still evince various degrees of insight.

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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.)

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Thoughts on Imitation Girl (2017)

I walked into this one cold, not knowing a thing about it—if I hadn’t, I probably wouldn’t’ve walked in at all. Imitation Girl (2017), by writer-director Natasha Kermani (who also has a music credit), had me wanting to crawl out of my skin or, failing that, drop down in front of my front row seat to do some pushups, because I detest fish-out-of-water stories, and this film has three of them: adult film star Julianna (Lauren Ashley Carter) trying to improve her life but being utterly unprepared, an alien (also Carter) who seems to be a benevolent version of the alien from Under the Skin (2013) slowly acclimating to human society, and Lauren Ashley Carter herself doing her best to pretend fluency in Farsi, because that’s the main language of the family the alien joins. For me, it was pure torture.

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