late night reviews and rants about film and other media
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review · Berlinale
Sharp, satirical indictment of class and gendered power dynamics in the Philippines, through the lens of a teenage girl from a formerly exploited ethnic background working at a golf terrain, in a brilliant debut from Rafael Manuel.
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In Perfect Days, an aging restroom cleaner finds daily, fleeting moments of happiness through a mindful awareness of beauty in chance encounters and his temporal surroundings, yet can never truly hide a deep underlying sadness.
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Martin Scorsese's newest film, the epic true crime drama Killers of the Flower Moon, is an absolute highlight in an already unparalleled career.
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It is by all means both narratively ambitious and visually stunning, if not occasionally messy, but for most of its duration this film is just so bleak, I don't think I could actually recommend this to anyone.
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Capitalism has the power to absorb all criticism of itself. Howard's psychotic outbreaks are commodified up to when they directly endanger capitalism--only then, direct intervention is required, first, at the hands of Jensen and his understanding of capitalist realism (there are no nations, only companies), and then more definitively at the hands of former communists, now themselves entrenched in the market of media entertainment and the attention economy.
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There are plenty of self-congratulatory films about film, but this is truly the one all-time must see.
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Starting of as a slow, contemplative exploration of a small, rural community faced with an ecological disruption at the hands of an ill-planned and predatory development project, Hamaguchi's Evil Does Not Exist is tense, layered and never overexplains itself.