Semi-regular reminder that I have written about every film I've seen since December 2022 on my @letterboxd account: Follow me there—not here—if you're interested in reading.

I saw some good movies in 2024.

Shot in Russia in the year after Putin escalated his war on Ukraine, it shows a life that's disintegrating while the social order crumbles. It's social and personal collapse depicted with unsparing clarity, poetry, and conviction.

RT @FilmFestLocarno: 70 years after its release, a lost gem of Brazilian cinema – “Mulher de Verdade” (1954) by Alberto Cavalcanti – has be…

I once again tried to tackle the knotty subject of VR for @swissinfo_en, though the headline's assessment is harsher than mine.

RT @ANTINOMOVIES: Glad to be back in @FilmComment after almost a decade. From Vienna, I spoke to Bernard Eisenschitz about the new version…

Glad to be back in @FilmComment after almost a decade. From Vienna, I spoke to Bernard Eisenschitz about the new version of his book of conversations with Robert Kramer.

RT @Futurhythm: Johnnie To on what's been going on mentally that's been holding him back from working, namely his and Hong Kong perceived l…

@feuilladist @swissinfo_en Thank you

@FerideMercury Or any such workshop, honestly.

@DDisgust58069 Yes! The piece argues precisely that, though in a measured way.

@zer04conduct These are super-independent documentaries, made with very little. But with each successive film, you really feel Zhang improving as a filmmaker, making better choices, more ably distilling the essence of her subjects. An individual film matters less than the project itself.

Making films industrially or at least industriously is a good thing, in my opinion. What we have now leads to a real valorisation of the director-artist, to her natural talent in bringing great work into being. Not sure what to do with those thoughts, but I'm having them often.

RT @kevasyork: An e x p a n d e d version of my @FilmFestLocarno interview with the indefatigable Tarsem is now up on @mubinotebook! In w…

RT @mubinotebook: "Cultural institutions can only resist the international’s deadly capture and diminishment of the world by making room fo…

During @FilmFestLocarno, we commissioned @filipefurtado to write this very fine article about Alberto Cavalcanti's ill-fated return to Brazil and MULHER DE VERDADE for Pardo. Now online!