Taipei-based writer exploring cinema, media, and desire in and beyond the Sinophone world
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Midnight Mass 2021
Having generally enjoyed Flanagan’s Fall of the House of Usher, I felt disappointed by this highly personal yet fittingly preachy installment. In Usher, the gothic horror angle (the Sacklers meet Poe) helped me accept the refreshing non-realism and even (un-Poe-like) moralism. Here, the message felt at best muddled, at times clichéd, though the performance of the priest alone made the work compelling. Showcasing the best and worst of Catholicism, and Christianity more broadly, is surely timely, but the pacing truly…
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Women Talking 2022
Timely topics and a star-studded cast really can’t save this film from what feels like inauthentic, wooden dialogue, only occasionally brought to life by a smile that catches you unawares. To me, the screenplay fails to capture the cadences and idioms appropriate to these Mennonite-esque women, to get inside their inner worlds and the limited means they have to express them, even as they must. We’re told of silences rather than confronted by them, informed of ineloquence rather than witnesses…
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