But having rated it five stars, I'm not sure if I ever want to do this to myself again. It was my first time in the theater, and I forgot that on my previous viewing at home I paused a couple times (toilet break, water). In the theater, there is no escape, and I seriously contemplated fleeing a couple times, just because I found the film so effectively anxiety-inducing.
ERASERHEAD is a miracle of sound design, of no-budget imagination, of…
Perhaps you're like me, and haven't seen much Davies, but you've seen enough Loach and Leigh to feel like you've got the measure of things when it comes to British kitchen-sink miserablism, and autobiographical coming of age stories have no special appeal for you, and you saw THE HOUSE OF MIRTH sixteen years ago and it quickly faded into a miasma of costume dramas, bubbling between THE END OF THE AFFAIR and AN IDEAL HUSBAND and a passel of Austen…
Until last week, I'd never heard of Sandro Aguilar, despite this film getting into Locarno and then the London Film Festival off the back of that, which is a reminder of just how one level of success becomes just a wider level of obscurity. But I am surprised this hasn't attracted more of a following, although his statement on his Berlinale page - "Subject is form. Form is subject." - gives a hint as to the level of challenge in…
Pretty rare that I go 3.5 and "like", but the storytelling (whether it's because of the many hands across the script, four of whom are credited, or the probably 15-20 minutes of scenes that would have made certain characters more intelligible that I suspect hit the cutting room floor, or most likely both) is just too lumpy on first viewing to go higher - and yet Arkasha Stevenson is the Real Fucking Deal, with a deep understanding of maximizing motion…
