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Little Murders (Alan Arkin, 1971)

BY REQUEST: Michelle Berman

After watching Little Murders, I read a bit...

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The Killer (David Fincher, 2023)

My lovely wife Jen is a much bigger fan of David Fincher than I am. She's liked most of his films but i...

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Mechanisms Common to Disparate Phenomena: #59 (Joost Rekveld, 2023)

Time has been kind to the pure abstraction sometimes called "visual music." In the world of experimenta...

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Passages (Ira Sachs, 2023)

BY REQUEST: Jorge (because I could not find his first choice)

Despite recognizin...

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We Are So-So Back

I've been getting back into movies a bit over the past few days. Tomorrow, Jen heads to London for a long weekend, and I expect I'll take the opportunity to hit the Killer Moon-Priscil...

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The Human Surge 3 (Eduardo Williams, 2023)

It's patently obvious that Eduardo Williams' The Human Surge 3 is unlike pretty much any film ...

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Boonmee in Action

This is the last dead cat related post. I just think the video gives a really good sense of who he was.

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Boonmee, and a Brief Pause

I am going to take a few days off from posting any writing. Yesterday my dear cat Boonmee died very suddenly. ...

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Samsara (Lois Patiño, 2023)

Although I've always found Armond White's "Better Than" list to be needlessly petulant, I do occasional...

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Light That Matters

The Light Matter film ...

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Losing Steam

This is always a difficult time of year, even without the added stress of having my reviews sharing ser...

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Brief Update on WTAF-Gate

The offending website, Kemono, has an email address marked "Legal," and I sent them a firm request to d...

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WHAT (and I cannot emphasize this enough) THE FUCK

So today I got an email from a festival publicist, telling me that a filmmaker had complained to them t...

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The Royal Hotel (Kitty Green, 2023)

Two travelers from Canada, Hanna (Julia Garner) and Liv (Jessica Henwick) run out of money in Australia...

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Marathon (Amir Naderi, 2022)

BY REQUEST: Michael Ewins

I watched Marathon a full eighteen years ago....

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Anatomy of a Fall (Justine Triet, 2023)

Now, as November approaches, we find ourselves careening into the period where prestige pictures assert...

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Here (Bas Devos, 2023)

I knew next to nothing about Here when I watched it, aside from the fact that it's Belgian, an...

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The Leopard (Luchino Visconti, 1963)

Alas, my very first Visconti film. Like a handful of other major directors, he is someone I just never ...

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Tótem (Lila Avilés, 2023)

Lila Avilés' second film is as claustrophobic and enveloping as her debut, The Chambermaid, w...

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Assorted Odds and Ends from InRO

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Selection Time Again!

Since I saw my last lingering Subscriber Request film tonight, it's time to select three more choosers....

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Stop Making Sense (Jonathan Demme, 1984)

BY REQUEST: Lucas Holloway

Among the myriad feelings and revelations I had while...

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The Night Visitors (Michael Gitlin, 2023)

Over on Bluesky Social [got invites if you need 'em], I remarked that The Night Visitors is pr...

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The Fist (Ayo Akingbade, 2022)

There is an inherent fascination with learning how things are made. And while the production of the pro...

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Man In Black (Wang Bing, 2023)

Ambition is a strange thing. By most people's reckoning, Wang Bing's nearly four hour documentary Y...

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Saturn Bowling (Patricia Mazuy, 2022)

Saturn Bowling is a film that is so blatant in its construction that it often just feels stupi...

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Elephant (Alan Clarke, 1989)

I suppose I've thought about Clarke's Elephant in the same way most cinephiles think about View Post

Some Early Wenders

For obvious reasons, Wim Wenders has been back on my cinephile radar, and (for equally obvious reasons)...

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A Few Selections from NYFF Currents

I've been meaning to jot down a brief word about these films for nearly a month now. At a certain point...

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Wes Anderson's Dahl-House

Fucking Netflix. If 32 minutes of underbaked Almodóvar can open in commercial cinemas, then surely 91 ...

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