Category Archives: Uncategorized

La Caza (Saura, 1966)

The summer of Saura continues with one of the director’s earlier efforts, the controversial, brutal film The Hunt (La caza). Four men go rabbit hunting in the extreme heat. There’s Luis (José María Prada), a drunken aficionado of dystopic science-fiction; Paco … Continue reading

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Death of a Bureaucrat and (sort of) The Twelve Chairs (Alea, 1966 and 1962)

Death of a Bureaucrat is so clearly sandwiched – both chronologically and thematically – between Tomás Gutiérrez Alea’s Memories of Underdevelopment (1968) and The Twelve Chairs (1962). These are the only three of Alea’s films I’ve seen but you can see him moving … Continue reading

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Seven Beauties (Wertmüller, 1975)

Lina Wertmüller’s Seven Beauties moves fluidly from farcical comedy (the first third feels like a dream sequence from 8 1/2 as played by a hammy Jack Lemmon) into really affecting war film and drama, with a little of Visconti’s The Damned thrown in for … Continue reading

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Black Sun (Kurahara, 1964)

A sweaty, jazzy, cross-cultural sort-of-buddy-film, Black Sun is nuts. It’s got that frenetic energy of so much of the Japanese New Wave (though it’s fairly devoid of sexuality, unlike many of its other contemporaries). Tamio Kawaji plays Akira, AKA Mei, a … Continue reading

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Rendez-vous (Téchiné, 1985)

Rendez-vous is deservedly famous for being Juliette Binoche’s first real leading vehicle. She’s amazing in this film. It’s also noteworthy for Olivier Assayas’ participation. He co-wrote the film with André Téchiné  and it really feels like a forerunner to Irma Vep, and … Continue reading

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Let The Corpses Tan (Cattet, Forzani, 2017) and Pororoca (Popescu, 2017)

I’m a really big fan of Hélène Cattet and Bruno Forzani’s Amer and The Strange Color of Your Body’s Tears. Let The Corpses Tan follows up on their close-up obsession; their menacing, sexual mood; and their willingness to bend film language for style. Ostensibly … Continue reading

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Black Lizard (Inoue, 1962) and Two Way Stretch (Day, 1960)

Umetsugu Inoue’s Black Lizard  – a campy musical thriller with frequent light color temperature changes, canted angles, and ridiculous disguises – is a whole lot of fun. The title sequence tells us as much: a fogged (greased? hazed? filtered?) lens, colors from … Continue reading

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