K: I’ve never retired something that was born before.
Lieutenant Joshi : What’s the difference?
K: To be born is to have a soul, I guess.
Jeremy Saulnier’s movies: How a filmmaker’s influences have shaped his original voice in genre cinema.
Saulnier proves that he can take the best from auteurs and genre cinema directors and shape his own unique style within the landscape of emerging genre directors.
Masks, Dreams, and Pop Culture: In Defense of Vanilla Sky
Cameron Crowe’s 2001 film is a spectacularly disorienting mess; a wild mix of genres, tones, and approaches that failed to win over critics or audiences. But it’s also a largely misunderstood, hugely ambitious love story, with a surprising relevance to today’s world.
Midsommar: Horror Rituals
Ari Aster’s Midsommar isn’t about the worn out horror film formula. It is a new form of psychological thriller.
BLOW UP THE CONVERSATION: Better living through surveillance and the nature of reality
A lot has been said about the parallels between The Conversation and our current concerns with the surveillance state, data protection and the struggle to safeguard our privacy and remain anonymous. At its core, however, I think the film deals with an even more profoundly philosophical question which seems more relevant than ever: that of our relationship to reality, both assisted and encumbered by technology.
Lost In Translation
Lost in Translation is Sofia Coppola’s second movie. It is a masterpiece of modern cinema that portrays how culture (or the lack of it) can be the fertile soil for love.
Kumiko, the Treasure Hunter
Kumiko, the Treasure Hunter, is a fable built on a complex web of reality and fiction. It is a love letter to the Coen brothers, and a viscerally emotional, sweetly funny depiction of isolation, communication, and the power of stories to compel us to action.
My Dinner with Andre: To Be Is to Be Human
What does it mean to be a human being?
When Music Becomes Film: Cinema Paradiso
Composer Ennio Morricone passed away recently, leaving after him a great legacy of film scores. This is my small homage to him.
Once Upon a Time in Hollywood
What Tarantino has done is a bit like BBC hit show Peaky Blinders. He has taken historical characters from criminal folklore and changed the outcome for them. Left physical and historical factors intact, but has played with the outcome and, of course, why not? After all, just like the Coen brothers said when William H. Macy expressed dismay at them falsely claiming Fargo was a true story: “This is fiction, man!”
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