Conor

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Favorite films

  • Yi Yi
  • Uncle Boonmee Who Can Recall His Past Lives
  • Eternity and a Day
  • Tokyo Story

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  • Albert Pinto Ko Gussa Kyoon Aata Hai

  • In Search of Famine

  • Bonnie and Clyde

    ★★★★

  • Miss Lonely

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  • The Ruins

    The Ruins

    ★★★★★

    Seen in 240p, unrestored, subtitled only in Spanish, a language I don’t speak. Still five stars.

    No love story has pained me this much in years. And yet it was so delicate, so bare, that I’m not sure it was a story of love. Hope, perhaps. Hesitation. A bit of self-deception, just like any good romance. The pain of seeing, for a moment, a half-remembered dream lost to time, and the quiet disappointment at a future turned to ash. There was born a forgotten saint, foundress of nothing, whose loving heartbeats trembled off and whose loneliness remained.

  • His Motorbike, Her Island

    His Motorbike, Her Island

    ★★★★★

    There was a German sociologist, Kracauer, who wrote that memory and photography were natural opposites. That the edges of a memory fade, the details blur, the faces become indistinct, but the emotion at the heart of it remains. But a photograph steps out of time. The details of the image never change, but the person in it will; the setting of it will; and in time, it won’t be recognizable. 

    From the moment it’s taken, it’s already growing old.

    11.25.98 - 03.02.22

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  • Miss Lonely

    Miss Lonely

    Someday, I’ll write a thesis on Obayashi’s ghosts. 

    His movies are haunted; in fully seven that I’ve seen, there’s someone spiritually out-of-place — a ghost, a person out of time, the vampiric spectres of House and Hanagatami, the kind woman of Seven Weeks. Over and over again, he returns to that motif. 

    With only a few exceptions, Obayashi’s “ghosts” are benevolent; they lead the living to understanding, and sometimes even peace. For their part, it’s a chance to reconcile with regrets…

  • Fire Dragon

    Fire Dragon

    The Youtube version plays at 1.25x speed, and yet the fight choreography is still crystal-clear and easy to follow. Not sure I would've noticed the technical quality at normal speed; credit to Yuen Woo-Ping & co.

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  • Contempt

    Contempt

    ½

    It's not as intelligent as it thinks it is. Insufferable.

  • Arth

    Arth

    ★★★★★

    Shabana became so vulnerable. After pleading with her husband for a new beginning, Pooja is turned down. We hold the camera on Kulbhushan Kharbanda, hold it for quite a while. And then I called cut; I saw Shabana crumbling to the ground, and falling to pieces.

    Floored, and deeply moved, by Shabana Azmi's extraordinary acting as a woman picking up the pieces. A film unsparing but not unkind, a camera gentle enough just to sit with people in pain, and a performance so full of grace.