Four Frames: God’s Own Country (Francis Lee, 2017)
Love is patient and kind, love is not jealous or boastful, it is not arrogant or rude. – 1…
Recent Posts
Searching for salvation: Kei Kumai’s Deep River
Kei Kumai’s Deep River (Fukai Kawa, Japan, 1995) starts with images of a Hindu temple in ruins and shots of…
Channelling Juliette Binoche in Certified Copy
At first sight, Abbas Kiarostami’s Certified Copy (2010) is a linear story, a tale of two people who are trying to get…
Lost Classic: Taylor Sheridan’s Wind River
Taylor Sheridan’s Wind River (2017) pitches us into an unforgiving wintry environment and declares once and for all, as if we…
New Releases: The Dead Don’t Die
Bill Murray, Adam Driver, Chloe Sevigny, Tom Waits… The cast of Jim Jarmusch’s newest film is an impressive list of…
New Releases: Midsommar
If you hated Hereditary (2018), you’re likely to hate Ari Aster’s sophomore film, Midsommar (2019), too. Even if you appreciate…
Poe, camp style: Ken Russell’s The Fall of the Louse of Usher
Did I feel guilty when I enjoyed Ken Russell’s The Fall of the Louse of Usher (UK, 2002)? I probably…
The Enduring Allure of the West and of the Western Style
The great frontier always drew dreamers. I am not an American, but I am a dreamer. And I’ve always considered…
Sociopolitical reality as horror: Joon-ho Bong’s The Host
The Host (Gwoemul, South Korea, 2006) starts with gloomy images in a morgue at an American military base in South…
