by ·Comments Off on Introduction (2021, Hong Sang-soo)

Matter-of-fact lboxd plot description “Youngho goes to see his father who is tending to a famous patient. He surprises his girlfriend, Juwon, in Berlin where she is studying fashion design. He goes to a seaside hotel to meet his mother and brings his friend Jeongsoo with him.”

Maybe the title is because scenes and conversations start and don’t reach expected conclusions. We don’t see Youngho talk with his dad who asked to see him, he doesn’t go back into the restaurant after ditching his mom and the famous actor.

Youngho with his dad’s assistant Ye Ji Won (Turning Gate, Ha Ha Ha):

Youngho is Shin Seok-ho, the neighbor who complains about cats in The Woman Who Ran‘s standout scene. Girlfriend Park Mi-so will return in the 2022 films. The girlfriend’s mother and the actor are both from the second scene in Grass.

by ·Comments Off on Story of a Three-Day Pass (1968, Melvin Van Peebles)

My second Peebles after Watermelon Man, building up gradually to the big one. Harry Baird (The Oblong Box) has three days of leave, attempts to have the best time possible (accomplished) and not fuck up his brand-new promotion (ummm). Different versions of himself appear in mirrors and fantasies, and characters speaking to him look directly into camera, placing us in his head. The whole thing is electric and alive, and self-consciously French-new-wavey. The white girl who falls in love with him is even Nicole Berger of Shoot the Piano Player.

Baird flies into a rage when a Spanish restaurant singer calls him negrito, he’s spotted by other soldiers outside the range they’re supposed to travel, and after his lockup for breaking the rules, the girl is gone.

by ·Comments Off on Nazarin (1959, Luis Buñuel)

About time I rewatched this. Francisco Rabal is our priest (also a monk in The Nun), and the prostitute who ruins him when he takes her in after a bloody fight is Rita Macedo of Archibaldo de la Cruz. He and Beatriz (Marga López, star of a couple Taboada movies) take a pilgrimage (aka get the hell out of town before the law catches them) and keep running into the same old people from town. Beatriz’s sinister man Pinto finds her, dwarf Ujo (Simon of the Desert‘s Jesús Fernández in his first Bunuel film) follows Andara around. I’m sure there are Bunuelian themes of repetition without escape, and of the truly religious vs. common churchgoers (and the absurdity of both).

by ·Comments Off on Yes, Madam! (1985, Corey Yuen)

Petty thieves named Aspirin (Mang Hoi of Zu Warriors), Strepsil and Panadol accidentally end up with that secret microfilm that everyone in the 80’s was after. Wild-haired John Shum Kin-Fun and Tsui Hark must be buddies – they also costarred in RoboCop ripoff I Love Maria. Unfortunately for them, crime boss James Tien is after the microfilm, and supercop Michelle Yeoh and her British counterpart Cynthia Rothrock are on the case. This is in Criterion’s “Michelle Yeoh Kicks Ass” collection but the white lady kicks 70% more ass.

Cameos by three legends covered in sheetrock dust:

Tien in back with his two main henchmen:

by ·Comments Off on Eo (2022, Jerzy Skolimowski)

Amazing opening, EO introduced as circus donkey to Sandra Drzymalska, some strong scenes and visuals, finally dribbles to a less amazing ending, Eo being marched to execution.

He’s repoed from the circus and spends some time with a horse breeder… mopes around a petting zoo, escapes after a visit from his former owner… wanders through a wolfy forest into town where he becomes a football team’s mascot then is beaten half to death by rival hooligans… after recovering, he violently refuses to take part in an animal slaughter operation. We were watching Poker Face the same week, and besides the Okja veganism, the two shows share socially awkward truckers getting into serious trouble.

by ·Comments Off on The Mother and the Whore (1973, Jean Eustache)

One of those holy-grail 1970’s movies, and now that it’s been nicely restored for the HD streaming generation, we can watch and forget it and move on. Jean-Pierre Leaud, soon after Out 1 and the second to last Doinel movie, strutting around wearing multiple scarves, frequenting cafes and being self-confidently aimless. Sharp b/w image with fades between scenes, but it’s mainly a writery movie, with wall-to-wall dialogue.

Colin and Sarah:

JPL lives with Out 1‘s Sarah and mooches off her, but they date other people openly. I imagine part of the movie’s appeal comes from this idea of the sexually free young French people. JPL loved Isabelle Weingarten (her follow-up to Four Nights of a Dreamer) but she’s getting married, so he latches onto nurse Françoise Lebrun (who had not many major roles until last year’s Vortex), dating her in front of Sarah, who becomes jealous. Full of film references (per Labuza, “more than a bit forced for a character we never see once go to the movies”).

JPL and Isabelle:

JPL and Lebrun:

by ·Comments Off on Outside Noise (2021, Ted Fendt)

Some women “wander around and talk,” per the unusually accurate lboxd description. Everyone is having trouble sleeping. One of them runs a small press with her ex, and has a sweet balcony. Director Ted finally shows up, meets everyone and tells them where to find good cake and snow globes. We go from NY to Berlin to Vienna in an hour-long movie, and if you think that means it’s tightly paced and eventful then hahahaha.

Nice Wanda reference:

by ·Comments Off on Four Half-Hour Shorts (Wong, Tsai, Gomes, Mandico)

One-Tenth of a Millimeter Apart (2021, Wong Kar-wai)

Making a Wong film out of outtakes fom other Wong films. It’s a cute idea – pushes its egg-metaphor too much, but gives us some scenes that I honestly can’t recall if/how they existed in the source features since I don’t watch his movies often enough.

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Wandering (2021, Tsai Ming-liang)

A woman walks through Tsai’s installation, watching a scene from each of the eight Walker films, alone except when the director appears at the end, transfixed by his own footage of Lee in a bath. A nice introduction and/or culmination to the slow monk project, with some new-to-me scenes, including a non-Lee monk in a white void.

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Redemption (2013, Miguel Gomes)

Four sections of archive footage illustrating narrated letters from the past. The end credits is where things get exciting, revealing the narrators and the letter writers (Maren Ade reading Angela Merkel!) then immediately revealing that all the letters were made-up. Per Vadim Rizov in Filmmaker, the letters are by “some of contemporary Europe’s least-liked leaders,” and the end result “a sympathetic but also fundamentally facile experiment.”

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Dead Flash (2021, Bertrand Mandico)

A scrapbook for Mandico completists – rushes and backgrounds with a mood-music mixtape. Extended shots of a multiple-stabbed dude, a double-dicked light-up crystal statue, the usual. Then the second half is ape-people as model and photographer (both played by Elina Löwensohn) in split screen with dialogue (“I want you to magnify this dirty memory”).

Fellow Mandico completist Gianni helps spot the source films on lboxd:

Outtakes from previous shorts (Extazus, Niemand, A Rebours and Huyswomans – Huyswomans is reproposed integrally) plus a brand-new short film about two anthropomorphic monkeys … the outtakes of Extazus have been released separately in a dvd box-set – Ultra Pulpe et autre chairs – with the title of A Black Sunset Upon a Violet Desert.

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bonus shorts from Criterion Channel:

Dream City (1983, Ulysses Jenkins)

Music and theater performances and other assorted stuff, mixed together with muddy sound recording and early video chroma effects.

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Black Journal: Alice Coltrane (1970, Stan Lathan)

Short, effective doc portrait on Alice at home and playing music. Beyond a few photographs previously seen, this is now everything I know about Alice.

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And we got access to that animation streaming site that I already forgot the name of, and watched two of this year’s oscar-nominated shorts that I already forgot the name of.

by ·Comments Off on My Left Eye Sees Ghosts (2002, Johnnie To & Wai Ka-fai)

Romancing in Thin Air / Blind Detective star Sammi Cheng was married to a rich guy for only a week when he died suddenly. Now she’s living in his giant house, to the chagrin of his surviving family and his loyal ex. Sammi can also see ghosts, specifically Mad Detective Ken, who keeps hanging around. Sammi’s sister-in-law (Tina the Throw Down girl) tries hooking her up with Lok from Election, and Sammi’s dad Lam Suet tries buying the ghost a wife to make him go away. A bit of zaniness, also the most emotional movie I’ve seen this year.