Category Archives: Uncategorized

Twilight Portrait (Nikonova, 2011)

A perfect triple feature – though an absolutely exhausting one – might be Twilight Portrait, Katalin Varga, and A Gentle Creature (or Old Joy, for that matter). Angelina Nikonova’s debut feature (Hey Mike, speaking of great debuts, here’s one!) was recommended by a friend … Continue reading

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Katalin Varga (Strickland, 2009)

I’m really looking forward to Peter Strickland’s In Fabric this year, so a look back at his amazing debut is appropriate. Katalin Varga is a richly textured revenge story. It’s the kind of film that makes you want to shoot on 16mm … Continue reading

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To Sleep With Anger (Burnett, 1990)

I remember when a professor in college showed me Killer of Sheep. I’ve seen it a lot since then. It’s one of those movies whose images just stay with you, but also whose mood – both oppressive and sleepily happy – … Continue reading

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Proschanie (Klimov, 1983)

Elem Klimov’s Proschanie isn’t on the level of Come and See, but it’s haunting enough. Klimov made/finished the film after his wife, Larisa Shepitko, died while location scouting it. What a loss. I’d have liked to see her version, especially as it … Continue reading

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Black Peter (Forman, 1964) and The Shop on Main Street (Kadár, Klos, 1965)

Ivan Passer was the 1st AD on Milos Forman’s narrative debut, Black Peter, but it feels like he may have had a script hand as well. The film feels so much like Intimate Lighting, and also like later Forman works, Loves of a … Continue reading

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Morgiana and Ferat Vampire (Herz, 1972 and 1982)

I’m not really sure that I’ll see a better film this year than Morgiana, Juraj Herz’s amazingly gothic adaptation of an Alexander Grin story. The film was censored before production to remove any traces of schizophrenia, but, though Herz apparently dismissed … Continue reading

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Three Billboards Outside of Ebbing, Missouri (McDonagh, 2017)

Lots of SPOILERS Below. I feel like an early thought in Martin McDonagh’s process for Three Billboards Outside of Ebbing, Missouri was something like, “how do I believably redeem a horribly despicable character, without having him entirely change his ways?” For … Continue reading

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