Last (x) movies you saw (II)

The Algerian War! (Straub, 2014) 8/10
En Rachachant (Huillet, Straub, 1982) 4/10
*24 City (Jia, 2008) 9/10
Workers, Peasants (Huillet, Straub, 2001) 9/10
Thursday till Sunday (Sotomayor, 2012) 7/10
The Arboretum Cycle (Dorsky, 2017) 9/10
Mister America (Notarnicola, 2019) 6/10
Mar (Sotomayor, 2014) 4/10
Mrs. Fang (Wang, 2017) 8/10
The Fall (Glazer, 2019) 3/10
The Day a Pig Fell into the Well (Hong, 1996) 7/10
Grass (Hong, 2018) 9/10

some scores and blurbs from above

Diamonds Are Forever 7/10 - I'm not sure if this is about anything or even has a real plot, and it's probably not any good at all, but has more bits that I like in it than nearly any other Bond. Gay contract killer couple! Fake Howard Hughes analog kidnapped! A car chase where Bond goes up on two wheels! A really cool camera move where it rushes up to his head when he's being coshed!

Driller Killer 7/10 - the serial killer stuff is v implausibly motivated and really doesn't fit with the film's main purpose of being a slice-of-life survey of a downtown arts scene. the whole thing is so patchy I assume it was shot in semi-random chunks whenever Ferrara could get some short ends. but it's compelling and would presumably have been a laugh-along hoot in Soho fleapits during the video nasty ban

M:i-2 7/10 - all I remembered from this was some amusingly nonsensical local geography at the climax, but basically everyone who said this was a bad Woo or bad Mission flick for the last 20 years is dumb and wrong. it's totally Woo getting to make a Hollywood spy movie in his style the way DePalma did, and they should have kept going in that vein. there's a gunfight / car ballet / foreplay scene! also John Polson was presumably so shamed by the accent they had him do that he retired from acting immediately to run the world's largest short film festival

Face / Off 9/10 - obv the only REAL TRUE Hollywood Woo though. Travolta playing Cage playing Travolta is perhaps the most acting he's ever done on screen, even if he can't quite suppress his dancer's grace enough

Child's Play 5/10 - perfectly fine slasher movie, I will never make it through the entire series to get to properly appreciate the all-Mancini flicks I've seen bits of

Witchfinder General 8/10 would grime again

Once Upon A Time… In Hollywood 9/10

Mister America 4/10 as an actual movie, 7/10 experience of watching in a sold-out theater of fans

Hello Mary Lou: Prom Night II 4/10 - acceptable slasher flick, a few good scare sequences

El Camino 5/10 - fine as an epilogue, highly unnecessary to suddenly do in 2019 with everyone six years fatter or older or cancery, especially as "Jesse driving away" adds zero resolution to the series' ending of... Jesse driving away

Bill & Ted's Excellent Adventure 8/10, took a 10-yo and a 14-yo to a $1.99 screening, high hopes for the sequel next year

Night Of The Creeps 6/10 effective pastiche of everything it's pastiching

Dolemite Is My Name 8/10

The Laundromat 6/10 - as Burns / Sodes entertainments about capitalism destroying humans go, it's more fun than Side Effects, nowhere close to The Informant

Candyman 6/10 - weird mishmash of physical-horror-manifests-from-brain in Barker style, with metaphor and direct commentary on racist gentrification in the US, by an English director without enough budget to include substantial characters whose lives are affected by said gentrification. really strong and distinct '80s tone that varies from the other '80s horror I watched this month - in a way that feels of its time and wouldn't be replicated by period pieces

Nightmare On Elm Street 7/10 - have still never seen any other Elm St movie. so many elements of incompleteness or cheapness feel fitting due to dream logic, which one imagines has diminishing returns in later flicks by different people

Vampire In Brooklyn 2/10 - then again sometimes Wes Craven can't make the most of a script that doesn't connect up to itself. John Witherspoon nearly holds it together by himself

Little Shop Of Horrors 9/10 - sorry I waited so many decades, glad I saw it with an audience

The Wrong Man 6/10 for Hitchcock storytelling, 2/10 for significant suspense given it's about a real-life mistaken identity accusation from about a year earlier

Dead Ringers 8/10

Dead Heat 1/10 for being a movie, 8/10 for overall entertainment value, 9/10 for makeup effects and puppets. laughed enough at the undead Chinese restaurant sequence streaming on a bad TV that in the theatre that scene alone would have made up for Joe Piscopo and his tits in the rest of it

Mad Max 2 10/10 streaming on a bad TV, obviously scores much higher in a theatre

I watched the first Nightmare on Elm Street recently too. like so many horror movies that spawned 4+ sequels, it feels half-cocked, even down to the credit "Fred Krueger."

yeah, there's a little disjunct when that mom names him Fred Krueger, then you realise "Freddy" is a product of the successful attempt to rebrand the child mol-- murderer as a fun kiddie character for toys and sweatshirts and syndicated TV shows

everyone who said this was a bad Woo or bad Mission flick for the last 20 years is dumb and wrong

*slaps table* OTM

nightmare 1 is a fuckin classic, the only bad thing about it is the ending

yeah the first nightmare is genuinely pretty good imo. apparently the studio forced that stupid ending on wes craven so they could do a sequel (which seems kinda funny now -- imagine someone deciding not to do a sequel to a slasher movie because "well, we killed off the bad guy in the first one, so that's that!").

interested in Grass, remember liking 24 City

tina getting dragged across the ceiling, her corpse in a translucent bodybag dragging itself through the high school, johnny depp getting sucked into his bed and turning into a blood vortex, the claws through the bedroom wall/the claws in the bathtub... all of these scenes still look amazing and are still deeply upsetting

the ending works OK as dream logic / having the audience walk out hyped and scared instead of comforted, even though it's cheap and gratuitous. would be way better if the only change from Craven's intention was that the car was striped like Freddy though, just adding some spooky ambiguity to the happy ending.

brb, making a '90s erotic thriller called Craven Intentions

Grass is such a wonderful little film. I've rarely seen a film that felt so small and inconsequential, and coming from Hong Sang-soo that might be saying a lot, but it's just such a nice way to spend an hour.

I really liked Too Late to Die Young, so sad to hear that Dominga Sotomayors other films aren't that good, according to devvine. They've been on my to-do list for a while.

i think thursday till sunday is good!

and yes grass really is a beautiful, elusive, little film. hong taking so many of his obsessions to their extreme

The Sun in the Last Days of the Shogunate (1957, Kawashima) 6/10
*Miller’s Crossing (1990, Coen) 6/10
Subarnarekha (1965, Ghatak) 6/10
Mur Murs (1981, Varda) 8/10
*Wolfen (1981, Wadleigh) 7/10
La hora de los niños aka The Children’s Hour (1969, Ripstein) 5/10
By the Grace of God (2018, Ozon) 8/10
Shitamachi (1957, Chiba) (57m) 8/10
Kanto Wanderer (1963, Suzuki) 7/10
I Dood It (1943, Minnelli) 6/10

loveless (zvyagintsev 2018) 9/10
never look away (von donnersmarck 2018) 8.5/10
ironweed (babenco '87) 5/10
us (peele, 2019) 6.5/10
hidden love (capone, 07) 2.5/10
the laundromat (soderbergh 2019) 2/10
the missing (howard '03) 4/10
wendingo (fessenden '01) 5.5/10
the invitation (karyn kusama 2015) 5/10
joker (phillips 2019) 3.5/10
diego maradona (kapadia 2019) 10/10

Cinema

Judy (Goold, 2019)
Monos (Landes, 2019)
The Naked City (Dassin, 1948)

MUBI

Father of my Children (Mia Hansen-Løve, 2009)
Goodbye First Love (Mia Hansen-Løve, 2011)
The Magic Gloves (Retjman, 2003)
Communists (Straub, 2014)

Nifty Nurses (Jason, 1934)
Sea Sore (McCarey, 1933)
A Regular Trouper (Mack, 1932)
Butterfly (Clarke, 1967)
24 Frames Per Second (Clarke, 1977)
24 Frames Per Century (Tsangari, 2013)
*Nine O'Clock Folks (Mack, 1931)
Five Minutes From the Station (Hurley, 1930)
*The Oyster Princess (Lubitsch, 1919)
*The Racket (Milestone, 1928)
*Filibus (Roncoroni, 1915)
*Neighbors (Cline & Keaton, 1920)
*The High Sign (Cline & Keaton (1921)
*The Goat (Keaton & St. Clair, 1921)
*Cops (Keaton & Cline, 1922)
Captain Applejack (Henley, 1931)

The Damned (Visconti, 1969) - 8/10
Faces Places (Varda, JR; 2017) - 8/10
The Champagne Murders (Chabrol, 1967) - 7/10
The Niklahausen Journey (Fassbinder, 1970) - 8/10
Nénette et Boni (Denis, 1996) - 9/10
In the Mood for Love (Wong, 2000) - 9/10
A Nightmare on Elm Street (Craven, 1984) - 7/10
Ten Seconds to Hell (Aldrich, 1959) - 8/10
The Store (Wiseman, 1983) - 9/10
Altered States (Russell, 1980) - 7/10
Public Housing (Wiseman, 1997) - 9/10
Ophélia (Chabrol, 1963) - 10/10
Suspiria (Guadagnino, 2018) - 8/10
Scandal (Kurosawa, 1950) - 6/10
*Weekend [Godard, 1967) - 9/10

Cluny Brown (Lubitsch, 1946) - 10/10
La Cérémonie (Chabrol, 1995) - 9/10
Last Summer Won’t Happen (Gessner, Hurwitz; 1968) - 8/10
Time of the Locust (Gessner, 1966) - 8/10
But I’m a Cheerleader (Babbit, 1999) - 8/10
Trouble in Paradise [Lubitsch, 1932) - 8/10
The Merry Jail (Lubitsch, 1917) - 7/10
Far from Vietnam (var., 1967) - 10/10
The Sixth Side of the Pentagon (Marker, 1968) - 9/10

My Own Private Idaho (van Sant)
Even Cowgirls Get the Blues (van Sant)
Elephant (Clarke)
Elephant (van Sant)*
Last Days (van Sant)*
Paranoid Park (van Sant)
Promised Land (van Sant)
The Sea of Trees (van Sant)
Erin Brockovich (Soderbergh)
Solaris (Soderbergh)
Haywire (Soderbergh)
Side Effects (Soderbergh)
The Laundromat (Soderbergh)
The Married Couple of the Year Two (Rappeneau)
Death Watch (Tavernier)
Revenge of the Musketeers (Tavernier)
L.627 (Tavernier)
Safe Conduct (Tavernier)
Les Revenants (Campillo)
Eastern Boys (Campillo)
120 Beats Per Minute (Campillo)
Fireworks Wednesday (Farhadi)
A Separation (Farhadi)*
The Salesman (Farhadi)*
Everybody Knows (Farhadi)
Taxi Teheran (Panahi)*
3 Faces (Panahi)
In the Palm of Your Hand (Gavaldon)
Macario (Gavaldon)
John McEnroe: In the Realm of Perfection (Faraut)*
On the Inside of a Military Dictatorship (Stokkendal Poulsen)
The Weight of Elephants (Borgman)
Loving Pia (Borgman)
Limbo (Hartmann)*
In Your Arms (Sahlstrøm)*
The Man (Sieling)
All In (Dyekjær)
The Witch (Eggers)
The Babadook (Kent)
High Life (Denis)
Shakti (Rejtman)
Cocalero (Landes)
Porfirio (Landes)
The Brink (Weiss)

So, yeah, this must be one of the worst movie-watching months I've had in a very long time. van Sant is up and down, though I'm very happy to have finally seen My Own Private Idaho. Still, Sea of Trees, nobody should do that to themselves. Apart from Haywire, not the best collection of Soderbergh either. All the Tavernier were frightfully boring, disappointing after I really liked Round Midnight. And Farhadi. Don't ever watch too much Farhadi, sigh. Hate that he is so important, and that I kinda feel I should be able to say something qualified about him. Here's something: He has only gotten continually worse over time. Even the Denis was a bit of a disappointment, though I'd definitely expected too much from it. It's not bad.

A few bright lights. I looooove Panahi, and while 3 Faces might honestly be his worst, that's still pretty incredible. Felt all happy and fuzzy inside afterwards. Macario is cool, I thought Mexican cinema had collapsed in 1960, but it's amazingly beautiful. And I'm really looking forward to seeing Monos in a few days after seeing the two other films by Alejandro Landes. Though Cocalero is depressing, it's a portrait of Evo Morales from his first campaign in 2005 :( So much hope, so much promise.

So, yeah, this must be one of the worst movie-watching months I've had in a very long time

Shut up.

Thoughts on Laundromat? Babadook? VVitch? Highlife?

my last four days was:
Framing John DeLorean
Mike Wallace is Here
Maiden (aborted, this felt very rah rah plus i realized i don't give a shit about yachting)
Be Natural: Alice Guy Blanche
Poetry (Chang-Dong)

Started Jacqueline Audry's The Great Deception last night and it seems great so far. Was going to go see Marriage Story last night and then realized i was almost guaranteed to hate it so i opted out.

But I’m a Cheerleader (Babbit, 1999) - 8/10

*high fives flappy*

Thoughts on Laundromat? Babadook? VVitch? Highlife?

― Fuck the NRA (ulysses), 13. november 2019 20:06 (one hour ago) bookmarkflaglink

We discussed Laundromat a bit on the Soderbergh thread. I really didn't like it, and I've turned into a massive Soderbergh fan the last few years :( Watch High Flying Bird instead, if you haven't already. Babadook and VVitch just really isn't my thing. I liked how pure the emotions of Babadook felt, but I'm just a bit bored. And VVitch I just don't care for, it's fine, nothing wrong with it, I like that young directors are doing stuff like that all over the world, digging into weird local stories, I just can't get excited by it when it's not more aesthetically original, and it's weird how big A24 indie is even in Denmark. I watched it to prepare for a festival starting tomorrow (I watched so much of this to prepare for work, unpaid work in a lot of cases, for different reasons, sigh) and it's sold out and they don't want to send me a screener, so who cares. High Life... It has good things in it, Binoche in a box, all the flashbacks, but I wasn't that taken with it. I miss her usual cinematographer Agnes Godard, the whole thing was just that bit more conventional on a granular level? Also, I'd just read too much about it, and knew too much, and was let down. Pattinson is really good. But even Let the Sunshine In had more surprises for me, and a relationship drama should not be more mysterious than sci-fi?

And also, how is Poetry?

i was thinking high life couldn't be as good as let the sunshine in; been sort of dragging my heels on it.
i'm more of a babadook/vvitch guy myself; i like weird creepy miniatures.

Poetry was devastating, never sadistic but just spirit breaking in its relentless pressure on the wonderful lead actress and, by extension, the audience. It suckered me into thinking it was ultimately an optimistic view of life in which we can find poetry and beauty even in the harshest and saddest of moments and then got me at the end with the rather stinging rejoinder of "but so what?" Recommended watching but tough sledding.

incidentally of those four white people documentaries, the standout was likely Mike Wallace... what a carefully constructed and provocative life he built! A rare opportunity to tell a story that absolutely required no narration or talking heads because he spent his entire life filming his documentary for you. Plus, love the choice of theme music.
https://www.youtube.com/watch?v=vWD7k6TrJ-g

(the alice guy-blache story was fascinating and i very much want to see her work but it was so poorly executed that I almost walked away multiple times. stop showing me how you made the documentary! Show the documentary! And chill out with the graphics!)

But I’m a Cheerleader (Babbit, 1999) - 8/10

*high fives flappy*

― american bradass (BradNelson)

no one involved in Boy Erased watched this movie and it shows
So good

In the last couple weeks:

Parasite
Paddington 2
Mr. Klein (Losey, 1975)
L’Assassin Habite au 21 (Clouzot, 1942)
Urusei Yatsura 2 - Beautiful Dreamer (Oshii, 1982)

They were all worth seeing in some way or another.

yesss beautiful dreamer is so good

It was wild! I went in knowing nothing about the source material but it was a blast as long as I resigned myself to being baffled most of the time. The, uh, Third Reich Cafe thing was a bit o_O.

thought The Witch had a compelling story, was innovative, and was extremely visually appealing. it is one of my favorite films of the last several years

also think Poetry is an amazing film

Secret Sunshine too

The Witch had an ending that I still think about frequently

Bend of the River (1952) 6/10
The Lighthouse (2019) 6/10
Ed Wood (1994) 9/10
Living on Soul (2017) 8/10
The Train (1964) 8/10
Save the Tiger (1973) 7/10
The White Diamond (2004) 7/10
Giant (1956) 3/10
Parasite (2019) 8/10

Ed Wood rewatch was inspired by finally reading the Nightmare of Ecstasy bio, which was I hadnt realized was an oral history and really fun to read. I was worried Save the Tiger would be corny but aside from some really dated Important Issues talk I enjoyed it a lot, I always really like films with that Sweet Smell of Success '36 hours in 1 persons life' structure.

I cant believe how dumb and bad Giant was, what a complete waste of time.

I'm gonna story including shorts in my round-ups, 'cause shorts are movies too.

*The Witches (Roeg, 1990) 7/10
The Little Shop of Horrors (Corman, 1960) 7/10
Pennies from Heaven (Ross, 1981) 7/10
*Best in Show (Guest, 2000) 6/10
Armored Car Robbery (Fleischer, 1950) 6/10
*The Bank Dick (Cline, 1940) 7/10
Beyond the Valley of the Dolls (Meyer, 1970) 5/10
Ghosks Is the Bunk (Fleischer, 1939) 7/10
Abbott and Costello Meet Frankenstein (Barton, 1948) 7/10
Image Makers: The Adventures of America’s Pioneer Cinematographers (Raim, 2019) 7/10

*START including

*Midnight Run (1988) 8/10
Cobra (1986) 4/10
*Dirty Rotten Scoundrels (1988) 9/10
Star Wars: The Last Jedi (2017) 6/10
Our Man In Havana (1959) 7/10
Daybreakers (2009) 3/10
Toy Story 4 (2019) 7/10
*W (2008) 5/10
*Dr Strangelove or: How I Learned to Stop Worrying and Love The Bomb (1964) 10/10
Picnic at Hanging Rock (1975) 6/10
Central Intelligence (2016) 6/10
Dolemite is My Name (2019) 6/10
The Laundromat (2019) 7/10
A Hidden Life (2019) 8/10

haven't seen Picnic at Hanging Rock since I was a kid. I don't remember that much about the story but do remember being entranced by it

Deerskin, the new one from Dupieux, is a funny fast and sleight comedy with a really really great jacket. probably best not to know any more than that going in as the purpose of watching the film is to tease out what it is.

Peaux de vaches aka Thick Skinned (1989, Mazuy) 7/10
The Midnight Man (1974, Lancaster, Kibbee) 6/10
Wheel of Ashes (1968, Goldman) 7/10
Harlan County U.S.A. (1976, Kopple) 10/10
That Touch of Mink (1962, D Mann) 6/10
Dark Waters (2019, Haynes) 7/10
Lost, Lost, Lost (1976, Mekas) 7/10
Mike’s Murder (1984, Bridges) 5/10
The Irishman (2019, Scorsese) 8/10
Marriage Story (2019, Baumbach) 8/10
*Casino (1995, Scorsese) 7/10

Hoopla (Lloyd, 1933)
Show Kids (Staub, 1935)
Dumb Daddies (Yates, 1928)
The Crooked Circle (Humberstone, 1932)
The Benson Murder Case (Tuttle, 1930)
The Studio Murder Mystery (Tuttle, 1929)
*One Week (Keaton & Cline, 1920)
*Sherlock Jr. (Keaton, 1924)
*#Metropolis (Lang, 1927)
#The Gallery of Monsters (Catelain, 1924)
*#Variety (Dupont, 1925)

# Accompanied by the Alloy Orchestra

Short little festival:

Uncle (Petersen)
Resin (Borgman)
Giraffe (Hartmann)
Psykosia (Grahtø)
Fever (Da-Rin)
Maternal (Delpero)
Monos (Landes)
Take Me Somewhere Nice (Sendijarević)
Disco (Syversen)
Twelve Thousand (Trebal)
Mosaic Portrait (Zhai)
The Verdict (Guttierez)
Son-Mother (Mohammadi)

Monos is fantastic, I'd reckon it will be on all the revised lists of best latin american cinema of the decade. Take Me Somewhere Nice crazy Jarmusch like view of Bosnia as this neon-pastel overdetermined lawless world. Those were the clear best in show.

Where'd You Go Bernadette is a well-filmed, highly mannered opportunity for tons of good acting (most of it Blanchett; she's awesome) to work through one of the dumber scripts I've sat through in recent years. Even taking into account this thing's screwball film context, it's still a dog of a film that i couldn't turn off because the lead was so goddam magnetic.

Hacked Circuit (short - Stratmen, 2014)
Near Dark (Bigelow, 1987)
The Devil's Backbone (del Toro, 2001)
Les dames du Bois de Boulougne (Bresson, 1945)
*Uncle Boonmee Who Can Recall His Past Lives (Weerasethakul, 2010)
I Like Killing Flies (Mahurin, 2004)
Elle (Verhoeven, 2016)
*Caché (Haneke, 2005)
Homework (Kiarostami, 1989)
Terror of Mechagodzilla (Honda, 1975)
The Laundromat (Soderbergh, 2019)
The Plague Dogs (Rosen, 1982)
Amazing Grace (Pollack, Buchanan, 1972/2018)
Dolemite Is My Name (Brewer, 2019)
I Walk Alone (Haskin, 1947)
Death in Venice (Visconti, 1971)
Kes (Loach, 1970)
Suzan Pitt shorts: Crocus (1971), Jefferson Circus Songs (1973), Visitation (2011), Pinball (2013)
The Old Dark House (Whale, 1932)
The Ballad of Jack and Rose (Miller, 2005)
Perfect Understanding (Gardner, 1933)
Stories We Tell (Polley, 2013)

Doctors' Wives (Borzage, 1931)
Klondike (Rosen, 1932)
The Phantom Broadcast (Rosen, 1933)
*A Fool There Was (Powell, 1915)
The Old Man of the Mountain (Fleischer, 1933)
The Snowman (Eshbaugh, 1933)
The Wheels of Chance (Shaw, 1922)
Song of the Scarlet Flower (Stiller, 1919)
Sir Arne's Treasure (Stiller, 1919)
Goofy Movies Number Nine (1934)
Little Cheeser (Ising, 1936)
Male and Female (de Mille, 1919)
Don't Change Your Husband (de Mille, 1919)

Dolemite (Martin, 1975) something like both 3/10 and 8/10 at the same time
Dolemite Is My Name (Netflix, 2019) 7/10
Living in Oblivion (DiCillo, 1995) 6/10
Terminator: Dark Fate (Miller, 2019) 6/10
The Last Jedi (Disney; Johnson, 2017) abandoned
The Concorde... Airport '79 (Rich) 5/10

halloween leftovers:
Happy Death Day (Landon, 2017) 6/10
Happy Death Day 2U (Landon, 2019) 7/10
The Incredible Shrinking Man (Arnold, 1957) 6/10
The Devil-Doll (Browning, 1936) 5/10
White Zombie (Halperin, 1932) 4/10
When a Stranger Calls (Walton, 1979) 7/10
The People Under the Stairs (Craven, 1991) 7/10
The Cars That Ate Paris (Weir, 1974) 7/10
*Hocus Pocus (Disney; Ortega, 1993) 6/10

seasonal movies:
*The Grinch (Comcast, 2018) 7/10
29th Street (Gallo, 1991) 6/10
3 Godfathers (Ford, 1948) 6/10
Christmas in July (Sturges, 1940) 6/10 not a christmas movie lol
It Happened on Fifth Avenue (Del Ruth, 1947) 5/10

Chronopolis (1982, Kamler) 8/10
Three Sisters (1970, Olivier) 7/10
Tales from the Golden Age (2009, Mungiu, Popescu, Hofer, Uricaru, Marculescu) 8/10
It Happened in Brooklyn (1947, Whorf) 6/10
Documenteur (1981, Varda) 7/10
Flight Command (1940, Borzage) 7/10
*The Image Book (2018, Godard) 8/10
Stuff and Dough (2001, Puiu) 6/10
Equation to an Unknown (1980, de Velsa) 4/10
The Makioka Sisters (1983, Ichikawa) 6/10

La Rupture (Chabrol, 1970) - 9/10
For Ever Mozart (Godard, 1996) - 6/10
Punishment Park (Watkins, 1971) - 8/10
Numéro Deux (Godard, 1975) - 9/10
Ten Days’ Wonder (Chabrol, 1971) - 7/10
The Man Who Shot Liberty Valance (Ford, 1962) - 10/10
Pickup on South Street (Fuller, 1953) - 9/10
The Glass Key (Heisler, 1942) - 7/10
*I’m Still Here (Affleck, 2010) - 10/10
*Life is Sweet (Leigh, 1990) - 10/10
Forty Guns (Fuller, 1957) - 8/10
The Book of Mary (Miéville, 1985) - 7/10
Hail Mary (Godard, 1985) - 7/10
*La Chambre (Akerman, 1972) - 10/10
*Changer d’image (Godard, 1982) - 9/10
*Pierrot le Fou (Godard, 1965) - 9/10
Godard, l'amour, la poésie (Lagier, 2007) - 7/10
Sweet Movie (Makavejev, 1974) - 6/10
Clockers (Lee, 1995) - 7/10
The Late Show (Benton, 1977) - 8/10
The Company (Altman, 2003) - 8/10
The Unfaithful Wife (Chabrol, 1969) - 7/10