Author Archives: dcpfilm

About dcpfilm

Shooting, teaching, writing and watching the Phillies.

Barrios altos (Berlanga, 1987)

José Luis García Berlanga’s Barrios altos is a fun, light thriller/sex-comedy, that feels very of the moment in Spain and very post-La Movida Madrileña. Victoria Abril (who I know best from Tie Me Up! Tie Me Down!) plays Veronica, a woman who gets … Continue reading

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The Arrangement (Kazan, 1969)

The Arrangement was such a surprise. Elia Kazan’s second-to-last film, it feels so much more progressive and together than The Visitors. It sort of reminded me of Frank Perry’s The Swimmer from the year before – classic Hollywood actor faces mid-life crisis … Continue reading

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Max and the Junkmen (Sautet, 1971) and Perfect Friday (Hall, 1970)

Claude Sautet’s Max and the Junkmen is such a good, hard-boiled, existential crime film. Michel Piccoli and Romy Schneider are great as the eponymous detective Max and Lily, the prostitute whom he fools into aiding and abetting a crime. Sautet’s style … Continue reading

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Magical Girl (Vermut, 2014)

Well, Carlos Vermut is certainly someone I’ll now be watching out for. Magical Girl is a trip. That’s in every good sense of the word. Definitely indebted to Buñuel, maybe most particularly to Belle de Jour, this tripartite film is cleverly structured, … Continue reading

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Get Out (Peele, 2017) and Personal Shopper (Assayas, 2016)

Two more really great ones from 2017. Both of these films are definitely aware of, and really play with classic horror tropes. I’m probably not the first to note that Get Out is kind of The Stepford Wives + Rosemary’s Baby + Guess Who’s … Continue reading

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Diamonds of the Night (Nemec, 1964) and The Return of the Prodigal Son (Schorm, 1967)

Diamonds of the Night is such a bleak, intense, daring experience. It’s pretty different than other Czech New Wave films, including director Jan Nemec’s 1966 film A Report on the Party and the Guests. It’s kind of like if Chris Marker remade Come and … Continue reading

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The Bitter Tears of Petra von Kant (Fassbinder, 1972)

I know I write about blocking a lot but…this is possibly the best-blocked film I’ve ever seen. One room, six total characters, Fassbinder at the top of his game and getting ready to go on a run of masterpieces. He … Continue reading

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