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Eyes Do Not Want to Close at All Times, or, Perhaps One Day Rome Will Allow Herself to Choose in Her Turn (Jean-Marie Straub and Danièle Huillet, 1970)

Ooh, this was a toughie. Every once and awhile someone asks me what film might be a good place to start...

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Framing John DeLorean (Don Argott and Sheena M. Joyce, 2019)

Maybe critics and academics have gotten what we wanted, and now it's a Pyrrhic victory. After decades o...

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Take Me Somewhere Nice (Ena Sendijarević, 2019)

Promising as a debut film, but mostly a trifle, this played Rotterdam and ACID and is the sort of film ...

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Afterthoughts on Booksmart (2nd viewing)

Much silly comedy is wrung from the fact that Amy uses a stuffed panda instead of her hands to masturba...

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Black Bus Stop (Kevin Jerome Everson and Claudrena Harold, 2019)

One of the reasons I so admire Kevin Everson's films is the determinedly "minor" nature of his short wo...

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Above the Rain (Ken Jacobs, 2019)

This might be a film emergency. You need to watch this, like, now.

Ken Jacobs has been working fo...

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A Study of Fly (Cherilyn Hsing-Hsin Liu, 2018)

One of the consistent joys of previewing the work included in the annual San Francisco Crossroads Festi...

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Years of Construction (Heinz Emigholz, 2019)

Of course it was a commission. How did I not see that?

At first I was quite taken with E...

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But what about lobsters?

This article made be hungry for some 2019-06-18 03:15:43 +0000 UTC View Post

Liberté (Albert Serra, 2019)

This will, alas, have to be a tentative evaluation, since the screener I watched was unusually substand...

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Consequence (Thomas Heise, 2012)

One of Heise's more purely observational films, Consequence is a 65-minute study of a cremator...

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Mustererkenntnis (Pattern Cognition) (Thorsten Fleisch, 2019)

Some artists, like Beatrice Gibson, get more interesting over time, partly because of developments in t...

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Two Sisters Who Are Not Sisters (Beatrice Gibson, 2019)

While I was a bit ambivalent, and even perplexed, by some earlier Gibson films (such as 2014's F Fo...

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The Beach Bum (Harmony Korine, 2019)

More Harmony, less melody.

The Beach Bum is, in its own comically irritating way, a comp...

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A Little Dead Time

Well, I have to take a somewhat unexpected trip, so I will be out of pocket for a week. I am going to t...

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Ayka (Sergey Dvortsevoy, 2018)

This review contains minor spoilers. The tabula rasa...

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With a Little Help From My Friends

Over the next few days, I am going to be prioritizing watching some of the 2019 films from Cannes that ...

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Pasolini (Abel Ferrara, 2014)

Never not interesting, Ferrara's take on the final days of Pier Paolo Pasolini (Willem Dafoe) neverthel...

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Booksmart (Olivia Wilde, 2019)

On twitte...

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Bait (Mark Jenkin, 2019)

Hey, remember when Guy Maddin delivered a full-on brother vs. brother melodrama in just under seven min...

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Homage by Assassination (Elia Suleiman, 1992)

While doing a little research on Suleiman's latest film It Must Be Heaven, I came across this ...

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But Seriously Though, Fuck Kechiche

I mean really. Lars von Trier makes an admittedly stupid joke, and Thierry Fremaux throws him out of Ca...

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AUDIO ONLY: The Treatment for Mektoub, My Love: Intermezzo

This helped Kechiche secure some funding, but I guess auctioning off the Palme d'Or made up the rest. No matter: come Saturday, he'll have another!

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Apologies...

...subscribers, for the multiple postings. I have discovered, painfully, that Patreon is indeed not a blog, and goes well out of its way to protect the (perceived) proprietary rights of ot...

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Pelourinho, They Don't Really Care About Us (Akosua Adoma Owusu, 2019)

Ghanaian filmmaker Akosua Adoma Owusu is gradually building one of the most vital bodies of work in the...

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No Lemons Sucked

Amidst the various reviews and reports coming out of Cannes this year, I am noticing the lack of one specific, frequent lament. No one has claimed that any film in Un Certain Regard or the Quinzain...

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Great Troll, or The Greatest Troll?

What if, in a year with over a dozen serious contenders, they awarded the Queer Palme to Young Ahme...

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Vaterland (Thomas Heise, 2002)

[NOTE: This is something of a subscribers-only preview, I guess, of part of my next article for Cinema ...

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Belonging (Burak Cevik, 2019)

This jarringly experimental narrative film from a relative newcomer (this is only his second feature) m...

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Waydowntown (Gary Burns, 2000)

There are films that I watched when they were new, and although I may have liked them well enough at th...

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