The second movie I’ve seen this year with a sea turtle girl at the beach. The wikipedia version of this movie is a frustrated teen off her meds who finds a community in a weirdo theater troupe, but conflicts arise between the girl (Helena Howard) and her mom (Miranda July), spilling into her acting and vice versa, and this is encouraged past the point of comfort by theater director Molly Parker.

The experience of watching it is something different, with editing and camera focus and framing just all over the place. Butter on the Latch was similarly disorienting, but more energy here from characters and story drives the thing into a jittery madness which is extremely fun to watch.

Only a couple minutes after Buster Scruggs ended, the opening titles of this movie announced that it’s a story told in six chapters – what are the odds? Unexpected suicides in both movies too. It’s not that I wanted a faithful remake, since the plot is the weakest thing about Argento’s Suspiria, but what made them turn a bonkers Italian horror about witches in a dance studio into a 2.5-hour movie set in Berlin during the Baader-Meinhof hijacking, with long sections about a psychiatrist who lost his wife in the Holocaust? What’s the meaning of Tilda Swinton playing both Evil Mothers in charge of the studio and also the psychiatrist? Nice plot twist with Dakota Johnson (the older sister in Bad Times at the El Royale) appearing to be the fresh-meat new girl with especially good dance-murder skills, later revealed to be the reborn Mother Suspiriorum come to cleanse the school by killing one or both Tildas. I mean, this was a lot of movie for a single weeknight, so I think that’s what happened. I have mixed feelings, but pretty sure I need to keep watching all of Luca’s movies (this is my second of the year).

Chloe Grace is a paranoid escaped dancer in the opening scenes, then disappears forever, followed shortly by suspicious Olga, who gets gnarled up in the practice room. Mia Goth (A Cure for Wellness) is the dancer who shows Dakota around, and Jessica Harper cameos as the psychiatrist’s dead wife. Most unexpected name in the credits: The Turin Horse cinematographer Fred Kelemen as one of the cops who Psych Tilda asks for help. Writer David Kajganich has also done a Body Snatchers remake and a Pet Sematary remake.

Ignatiy Vishnevetsky compares it to “the movies Nicolas Roeg was making around the same time, confounding mosaics of predestination and psychoanalysis … It’s a movie where most of the characters are liminal figures, mid-phase between identities. It is packed with doors, mirrors, ceremonies, rehearsals, shared secrets, and make-up, suggesting commonalities between the backstage world and the supernatural through collage.”

“I’ve never seen a truly impressive man.”

Minjung (You-young Lee of a movie called Late Spring which is somehow not an Ozu remake) is breaking up with her deep-voiced boyfriend Youngsoo (Ju-hyuk Kim, who died last year). She’s spotted by some other dudes, chats with them in bars, dates at least one, but each time she’s someone else – or claiming to be. She’ll claim to be a twin sister, or just deny having ever been where they say they’ve seen her. I suppose her multiple identities are open to interpretation, but I assumed it’s just one woman who claims to be someone else when she’s bored with a guy.

We’ve also got an older (?) guy with cool hair and a folding bike (Hae-hyo Kwon of On the Beach at Night Alone), Youngsoo’s buddy (Eui-sung Kim, who hung around the main guy’s guesthouse in Hill of Freedom), and of course a film director (Joon-Sang Yoo, lead of The Day He Arrives, lifeguard of In Another Country). She ends up back with Youngsoo, which is slightly unsatisfying since he was such a dick in the opening scene, but I dunno, she’s also wearing the same t-shirt in the bookend scenes so maybe the parts in between never happened. This was supposed to be Katy’s first Hong movie but she fled after ten minutes, saying the style was weird and felt like the PBS show Degrassi.

Emily Prime, a year older than last time, is visited by an incomplete backup copy of her third generation clone, who is using time travel to visit her own inherited memories. The clone hopes to copy Emily’s consciousness over her own, a process which somewhat succeeds, after some memory tourism, personality glitches, future history lessons, and of course, philosophizing on the meaning of life and our individual place within the universe.

The computer-animated mindscapes and off-world dystopian future visions are as great as in the previous film, which I’ve been known to call the best animated short of all time. So I had absurdly high expectations, and Episode 2 met them, feeling like a perfectly natural continuation of the first film. Not as many mindblowing new ideas in this one since he set up so much previously, but the writing (based around conversations with a six-year-old) is probably better, circling back to each idea and conversation in a self-conscious loop while expanding the ideas about memories and identity.

Veep season 4 (2015)

I’d planned to watch this right after Girls season 4, then wasn’t in the mood to hear anything about politics for a while, so postponed with more than a few seasons of Archer. Finally I returned to Veep, and you know it’s sorta about politics, but mostly just 30-minute episodes of nonstop insult humor, and I love it. Meyer has become president, and during her re-election campaign almost everyone resigns or is fired over scandals and personality conflicts.


Rick & Morty season 3 (2017)

It’s hard to love Rick & Morty while trying not to be one of those people who loves Rick & Morty, but it’s also impossible for me not to love Rick & Morty. This is like my TV Tarantino.

1. A series of mind transfers and brutal killings lets Rick escape from insect jail, rejoining Morty in a mad quest for fast-food szechuan sauce.

2. Dad moves out, Summer is alienated, Rick takes the kids to a Mad Max dimension, Morty gets a super-arm.

3. Pickle Rick nearly avoids going to family therapy with Beth and the kids.

4. R&M join the Vindicators, an Avengers knockoff, for an adventure in which Drunk Rick is the master villain.

5. “Rick & Jerry episode!” Rick takes Jerry on an adventure, admits to breaking up the family, Summer has body image issues.

6. R&M are addicted to adventures, while on vacation Toxic Rick and Ideal Rick get separated.

7. Set on the Citadel of Ricks, a sort of Godfather, Chinatown, Willy Wonka mash-up.

8. Morty’s Mindblowers is the new Intergalactic Cable.

9. Beth revisits the world Rick created for her as a kid, finds a friend who disappeared there, while Jerry is dating a warrior alien.

10. While Rick duels the President of the United States, the rest of the family reunites.


Superjail season 2 (2011)

I watched this entire season (under two hours long) whilst scanning book pages and probably drinking, and can’t recall any of it to mind. But it was great, and I took some screenshots. A+, would watch again.


Wet Hot American Summer: Ten Years Later (2017)

A satisfying conclusion, if that’s what it turns out to be, with the ex-campers grown up (sort of) and employed (somewhat), reuniting in 1991 among current campers to save the camp from an evil and somewhat confusing Presidents Bush & Reagan nuclear plot. Nearly everyone from the series and movie returned, in one way or another, plus Adam Scott, Alyssa Milano as a suspicious nanny, Sarah Burns (Enlightened) and Dax Shepard (Idiocracy).


Black Mirror: White Christmas (2014, Carl Tibbetts)

Snowed into a cabin at the end of the world: chatty Jon Hamm and another dude who has barely spoken in years (Rafe Spall, Life of Pi, an Andy in Hot Fuzz), so Hamm tries to draw him out by sharing his own backstory, being paid to give live social/dating advice to awkward people while others watch on a shared party line, until one call ends in a client’s death. Since this was a longer, special episode, we get a second technology, demonstrated by Oona Chaplin of The Hour: the ability to copy your own consciousness into a “cookie,” like an Alexa or Echo run by a second self instead of a computer program – but the copied self considers itself the Original and its spirit has to be broken by manipulating time in the cookie, making it sit idle for years with no stimulation until it’s happy to perform menial tasks. This being Black Mirror I’ve now caught on that Hamm and the quiet guy are in some kinda interrogation device, which is why the circumstances of their years trapped in a cabin together have never been explained, and Rafe finally tells his story, of how he got “blocked” by his wife, who moved away and had another man’s child, and after the wife died in an accident, Rafe busted her dad’s head with a snowglobe. After a job well-done, Hamm is pulled out of the simulator, and a cop spontaneously speeds up the cookie clock, sentencing Spall to a near-eternity alone in the cabin.

Jon Hamm controls the cookie:

Mouseover to block Rafe Spall:
image


One Punch Man (2015)

Saitama is a young bald guy who enjoys acting like a superhero in his spare time, and is incidentally the most powerful man in the world. He attracts an android sidekick named Genos and they sign up to the league of heroes, the jokes being that the league members are mostly interested in themselves and their press and official hero positions, and that Saitama just wants a good fight but ends up defeating all foes with a single punch. A great assortment of heroes and villains which recalls The Tick, and a damned good opening theme song.

Genos vs. Mosquito Queen:


Currently stalled or proceeding slowly: The Deuce, The Knick, Mystery Science Theater 3000, Master of None, Unbreakable Kimmy Schmidt, Atlanta, The Thick of It, Blackish, Key & Peele, Futurama, Fullmetal Alchemist Brotherhood, Enlightened, Review, Documentary Now, Lady Dynamite, Louie (yikes), Assy McGee and Steven Universe.

“Is it future or is it past?”

This was pure pleasure. If the show’s original run taught us anything, it was to enjoy the mystery, because if you’re just enduring a show for eighteen hours waiting for clever answers at the end, you’ll be deservedly disappointed. The blu-ray has already been announced, so I’m saving the thinkpieces and episode recaps and conspiracy theories for after a second viewing.

“It is in our house now.” The Tall Man appears in the first scene, and almost everyone from seasons one and two and Fire Walk, whether characters or actors are alive or dead or refused to appear in the show, will be present in some way or another. And I really need screen shots with updates for each character and situation. Lynch merges the casts of Twin Peaks and Fire Walk With Me with Mulholland Drive and Inland Empire, brings in new mood music and his own paintings as visual design, forming an Expanded Lynchian Universe. Each episode is dedicated to a different departed actor (or character) which combines with the resurrections (Don Davis, David Bowie) and final testaments (Catherine Coulson, Miguel Ferrer) of its cast, and the limbo/afterlife storylines of the Black Lodge and Laura Palmer, the aged actors and out-of-time (“what year is this?”) feel of this belated sequel give the whole thing a sense of death and mystery beyond the storyline alone.

Some people not in the original show lineup:

Dougie “Mr. Jackpots” Jones (Kyle MacLachlan) works in insurance, lives in the Las Vegas suburbs, married to Janey-E (Naomi Watts of Mulholland Drive), with son Sonny Jim (Pierce Gagnon, dangerous telekinetic kid of Looper).

The Mitchum Brothers (Jim Belushi, and Robert Knepper of Carnivale) run a casino insured by Dougie’s firm, assisted by comic-relief Candie (Amy Shiels, Luna in the Final Fantasy games). Dougie’s boss is the very patient Bushnell Mullins (Don Murray, Marilyn Monroe’s costar in Bus Stop), and his coworker/rival is sweaty Tom Sizemore, who is working as a spy for Mulholland Drive‘s Dinerbrows (Patrick Fischler) trying to frame Dougie.

New FBI agent Chrysta Bell works with Gordon Cole and Albert, along with the previously unseen Diane (Laura Dern in a wig), on the case of Bill (Matthew Lillard) who appears to have killed a woman he was having an affair with, or possibly her body was replaced with that of the late Major Briggs by interdimensional gas-station-dwelling black-faced woodsmen.

Young, serious Sam (Ben Rosenfield of Person to Person) and his girl Tracey (Madeline Zima of Californication) are paid to watch and videotape an interdimensional box, but instead they have sex, and in classic horror movie tradition, get brutally murdered for it.

Evil Cooper/Bob (Kyle MacLachlan) drives around with minions Jennifer Jason Leigh and Tim Roth and Ray (George Griffith), beginning in South Dakota.

Londoner Freddie (Jake Wardle) got turned into One Punch Man by The Giant (aka The Fireman), now works as a security guard with James Hurley, who still sings his hit song “Just You & I” at the Bang Bang Bar some nights. Fate brings Freddie to Twin Peaks to destroy Bob, which emerges from Evil Coop as an orb.

Some series regulars:

Andy and Lucy (now with son Wally Brando: Michael Cera) still work at the Twin Peaks sheriff’s office with Hawk, and now with Truman’s brother Robert Forster (with naggy wife Candy Clark of American Graffiti), Deputy Bobby Briggs, and traitor Deputy Chad (John Pirruccello of an upcoming hit-man comedy)

Log Lady Margaret speaks with Hawk on the phone from her death bed, feeding him cryptic clues. One-armed Mike appears to Coop-as-Dougie, feeding him pretty straightforward clues.

Nadine runs a silent drape shop, religiously watches the pirate TV broadcasts of Dr. Jacoby, who sells gold spray-painted shovels. Norma is franchising the diner with help of her guy Walter (Grant Goodeve of Eight is Enough, Northern Exposure), while Big Ed still pines for her.

Amanda Seyfried (daughter of Shelly) is dating psycho cokehead Caleb Landry Jones (son of Audrey Horne), who runs over a kid then tries to murder a witness living in Harry Dean Stanton’s trailer park.

Walter Olkewicz, who played the late Jacques Renault, runs the Bang Bang Bar as an identical Renault relative.

Jerry Horne is looking more like Jerry Garcia, gets lost in the woods, fights with his own foot, is finally discovered naked in Wyoming.

Bobby Briggs is a level-headed, good-hearted policeman, and the best surprise of the new series.

Laura Palmer’s mom doesn’t do well in social situations, freaks out at the convenience store, watches TV on a time-loop, her house a screaming dim red hell.

I never figured out who Judy is, where Audrey Horne was or where she ends up, who Balthazar Getty played, or various other threads which a second viewing will probably not enlighten.

Plus cameos by Ray Wise, David Duchovny, Jack Nance, and almost everyone else, living or dead (except Harry Truman and Donna) and some fifteen music acts, Ethan Suplee, John Ennis, Ernie Hudson, etc.

Other things:

an eyeless woman with a connection to Diane… Diane is Naomi Watts’s half-sister… the picture glitching back and forth like a Martin Arnold film… an obsession with numbers… digital spaces like Chris Marker videos, and effects completely unconcerned with looking realistic… the green ring from Fire Walk With Me… Lucy doesn’t understand cellphones… the best closing songs at the Bang Bang Bar… “hellllOOOooooOOOooo”… a short stabby hit man with his own theme music… a kung-fu drug dealer who does intense magic tricks… inside a 1945 atomic bomb… alien vomit… flickering lights and a giant tesla diving bell… a galaxy of firefly ghosts… beetle-moth-frog crawls out of a desert egg… “this is the water and this is the well”… references to “The Zone”… teens at the Bang Bang Bar with random teen problems and other scraps of side-character drama… Ashley Judd searches for a the source of a droning sound in Ben Horne’s lodge… a history of the FBI’s involvement with UFOs… Dougie electrocutes himself… Evil Coop gets taken out in the best possible way… the final Lynch/Frost logo noise scares the hell out of my birds… “We are like the dreamer who dreams and then lives inside the dream.”

I watched all the Resident Evil movies this summer… parts 1-3 here.


Resident Evil 4: Afterlife (2010)

After the Umbrellas of Cherbourg opening titles, we get the best scene in any Resident Evil movie yet – Alice storming Umbrella headquarters with an army of her clones. I was hoping for an entire Cherbourg musical installment of this horror series, but I’ll happily settle for this instead: Anderson immediately leaves behind the halfassed effects and sorry filmmaking of previous movies and crafts a loving homage to The Matrix, with better-than-usual electro music by former Low collaborators Tomandandy.

Shades-sporting Umbrella boss Wesker (crossover zombie-movie actor Shawn Roberts of a couple Romero Dead films) escapes in a chopper, nuking the Alice clones on his way out, and injects the stowaway Alice with an antivirus, removing her awesome powers, a major bummer.

After somewhat-destroying Umbrella, Alice starts a vlog and goes to Alaska in search of her buddies from the previous movie, scooping up a lone amnesiac Claire (infected by a Cronos scarab), then crash-landing in a prison surrounded by zombie hordes and meeting a new bunch of doomed friends, led by panicky movie producer Bennett (Kim Coates of Sons of Anarchy, Silent Hill) and cooler-headed Luther (Boris Kodjoe of Surrogates, Starship Troopers 3), also including a guy from The Tracey Fragments who will soon be cleaved in half by a superaxe. But before that, we’ll discover Chris Redfield (Wentworth Miller of Prison Break, writer of Stoker) suspiciously located in a locked cell. He’s Claire’s brother, not that she remembers, acting kinda like movie star Lucas Lee in Scott Pilgrim.

Then the zombies break in and everyone dies. New zombie developments since the last movie: sometimes zombies will spawn quadropus parasites from their mouths, a familiar detail from the only Resident Evil game I’ve played. And it’s not really new since we’ve always had final-boss mega-zombies, but instead of a chain gun, this movie’s giant has a pinhead burlap mask and giant axe, with which he smashes in the prison gates. Bennett defects to the dark side, Luther goes missing, and our surviving heroes (Alice and the Redfields) escape through tunnels and head for the offshore cargo ship where Wesker has started eating people (incl. Bennett) to stave off infection. Wesker flees, our heroes free the captive humans, and all is well for about 15 seconds before a fleet of gunships led by a scarab-wearing, mind-controlled Valentine (from part two! with different hair) descends on them as a Perfect Circle song blares to complete the Matrix feeling.


Resident Evil 5: Retribution (2012)

I must have watched the opening titles ten times… starting exactly where the last movie left off, Evil Valentine’s troops wipe out the unarmed survivors on the cargo ship, an explosion throws Alice into the ocean, and it’s all running in reverse super-slow-mo.

In every movie it seems that Umbrella’s head has been destroyed, but there are always new evil leaders and massive research facilities popping up. Now we’ve got an training holodeck in Kamchatka, where multiple Alices and Rains (Michelle Rodriguez, for the first time since part one) and other clones are killed in various zombie-attack scenarios.

Evil Valentine has triggered a bunch of allegiance shifts in the script. Now Wesker, displaced from Umbrella by the still-functioning Red Queen A.I., has sent his warrior Ada Wong (Detective Dee and Snow Flower star Bingbing Li) to rescue our Alice underground, while on the surface, team leader Leon (Johann Urb of the Witches of Eastwick TV series) with Luther (from part four) and Barry (Kevin Durand of Guillermo del Toro TV series The Strain) prepare to destroy the place (a countdown timer is naturally involved).

Alice picks up a deaf girl (Aryana Engineer of Orphan) whose clone-Alice mom was killed. There are good Rains and evil Rains, multiple Michelles Rodriguez. Valentine is back, under command of the evil Queen, alongside resurrected actors from parts one and three. After a clip show near the beginning, this movie is full of callbacks to part one, but the story is also overexplained for the sake of newcomers, and dialogue is never great (it’s still better than the games). With the clones and the new/old characters in virtual environments, we’ve reached new, reality-bending heights… each of the previous movies had an older film it was imitating, from Romero to Cube to Mad Max to Hitchcock to The Matrix, and now the series has come into its own, this film’s primary influence being the previous Resident Evil movies (secondary influence: Aliens).

With Leon and Luther:

I was blissing out to the action sequences and kinda lost track of everything that happens, but here are some notes I took:

Music is good, but all rhythm and no tune.

I noticed in the last movie, but now it’s starting to bug me that one of Alice’s guns seems to shoot coins – an overly literal videogame reference?

Milla dials it down when the movies focus on survivor communities, but whenever her solo warrior awesomeness is called for, she’s happy to comply.

The zombies have guns!

Parts four and five are a total blast, with coherent action, proper lighting and hugely improved CG beasts.

Evil Michelle uses the five point palm exploding heart technique on poor Luther

We end on humanity’s last stand against the red queen’s forces, in the White House, Alice and Wesker newly allied, each with renewed mutant super-abilities.


Resident Evil 6: The Final Chapter (2016)

“I propose that we end the world, but on our terms – an orchestrated apocalypse.”

Based on the final shots of part five, we should have Alice, Wesker, Ada Wong, Valentine and Leon in a showdown against an army of undead at the White House – but that’s not what happens. Instead we get a backstory intro explaining that the Red Queen A.I. was constructed from video of the benevolent Umbrella founder’s child, after Dr. Isaacs (mad scientist killed in part three) has the founder murdered. Then the movie betrays all our hopes, having Alice awaken in the ruins of the White House, beat to hell, with no powers, narrating some shit about Wesker having betrayed them all. And thus begins this increasingly great series’s joyless finale, a color-desaturated, underlit, over-edited slog of close-shot action scenes, where I never knew what was going on or even what characters were in the movie. This is not the kind of homage to part one I was hoping for.

Since we’ve established that anyone can be a clone, Dr. Isaacs is back, now leading a fanatic tank convoy to Raccoon City. Even without mutant virus powers, Alice is still a badass soldier, but she’s knocked out and captured more than once along the way (and Isaacs has super-speed and can dodge bullets, but can’t dodge the computer keyboard she whacks him with).

In another doomed Last Human Settlement, Alice finds Claire, traitor Doc (Eoin Macken of TV’s The Night Shift) and a bunch of newcomers with colorful names who will be killed one by one. An actor from John Wick 2 gets sucked into a turbine, a Cuban TV star is savaged by dogs, and so on.

Here are some of them, maybe:

Finally back in The Hive from part one, Alice encounters the Original Dr. Isaacs, who is soon killed by Fanatic Warlord Dr. Isaacs, who is soon killed by Alice inside the Cube chamber, which turns out to have glass walls so I guess people in earlier movies could’ve just slammed against a side wall with all their might to escape. Alice also meets her former self (the Red Queen, now played by Anderson and Jovovich’s daughter) and future self: a convincingly makeup-aged Milla, playing “Alicia,” from whom all Alices were cloned. Alicia and Wesker are the remaining leadership of Umbrella until she pulls out an excellent Robocop reference (“Albert Wesker, you’re fired”) and security chops his legs off. Alice hands him a Terminator 2 killswitch attached to a massive bomb, downloads her childhood memories from dying Alicia, and heads out to cure the entire world with the airborne antivirus in a tiny capsule, which I don’t think is how airborne antiviruses work, but at least the movie admits it will take a few years to spread globally and in the meantime Milla Jovovich is gonna ride the country in a motorcycle blasting hellbeasts with shotguns, a comforting thought.

Final Series Ranking: 5 > 4 > 3 > 2 > 1 > 6

Best reviews: Neil Bahadur on Letterboxd: parts four, five, and, featuring a Dr. Isaacs/Steve Bannon comparison, six. And Christoph Huber wrote the Cinema Scope story in issue 70 that convinced me to watch this series in the first place (thanks).

“Why don’t you pass the time by playing a little solitaire?”

Brilliant visual display of espionage, duplicity, politics and memory (real and false), with at least five perfect performances, but the one who towers above them all is Angela Lansbury as a power-hungry politician’s-wife.

A group of Americans is captured with help from their traitor translator Henry Silva, then Laurence Harvey (Darling, Room at the Top) is brainwashed by the Enemy and sent back to the States, but his fellow soldier Frank Sinatra starts to remember their capture and realize something is amiss. Meanwhile Sinatra falls for Vivian Leigh, Harvey kills his girlfriend (Leslie Parrish of Li’l Abner), and Harvey is being controlled by his evil mother to put his weak-willed stepfather in power, but he turns on them at the last minute.

Sinatra and his girl:

Harvey and his mother:

A movie featuring a wannabe-president supported by a foreign power who puts ketchup on his steaks. I originally planned to double-feature this with A Face in the Crowd, but maybe The Dead Zone would be more appropriate. Frankenheimer made this the same year as Birdman of Alcatraz, a couple years before the similarly paranoid Seconds.

Watched this twice… it doesn’t quite make sense, and a half hour of screen time is spent watching Kristen Stewart texting, but it’s just about the most electrifying thing I’ve seen in theaters lately.

Kristen spends the night in her late brother’s old house, and sees a ghost, but it’s not him. Dropping off clothes for her employer Kyra (Austrian Nora von Waldstätten of Carlos) she runs into Lars Eidinger (Clouds of Sils Maria), tells him she’s not sure she believes in an afterlife (though we just saw her see a ghost). Soon after this, an unknown number starts texting Kristen asking personal questions, and she is intrigued enough to keep responding as she travels from Paris to London and back.

Things get crazy… we see Kristen drop some bags with super-expensive, high-fashion jewelry in Kyra’s apartment just before discovering Kyra dead and seeing shadows move in back of the apartment with rhythmic sounds, then leave without the bags. She returns to call the cops, which we mostly don’t see – then later, the jewelry bags are at her own place. Unknown Caller (everyone has guessed that it’s Lars at this point) drops off a hotel room key, and she goes to the room in Kyra’s dress with the bags… then he arrives… then the camera tracks an unknown presence leaving… then he leaves and has a shootout with waiting police.

Anyway, Kristen meets Erwin (Anders Danielsen Lie, star of a couple Joachim Trier films), the new boyfriend of the late brother’s ex Lara (Sigrid Bouaziz, a small role in Eden), and we get a glimpse of the brother’s ghost. Then Kristen, who has been avoiding her boyfriend Gary, decides to join him in Oman, where she encounters… something… herself. “I don’t know you.”

If she was killed in the hotel room (as the departing spirit would suggest), what’s she doing meeting new people (Erwin) and having normal conversations and going on trips? But if she didn’t, then what happened in the room, and why does she never mention it? I suppose we know that ghosts can become visible and pick up glasses, so maybe they can masquerade as their sisters and carry bags of jewelry across the city… but no, that doesn’t make sense either. Anyway, this unknowability of the story, the lapses in logic and storytelling, only add to the movie’s great mixture of the mundane and the mysterious which has kept me thinking about it all month.

Tied with Mungiu’s Graduation for best director at Cannes last year. DP Yorick Le Saux is on a roll, with this film following A Bigger Splash, Clouds of Sils Maria and Only Lovers Left Alive. I read a bunch of articles which I won’t quote from… David Ehrlich’s family grief essay/interview was a favorite personal take, and V. Rizov’s “Anxiety of Economic Influence” article approaches the movie from a fascinating angle.