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I'm Still Here 2024
This is a seemingly straightforward story about a familiar theme: dictatorships and political violence. But it’s handled extraordinarily sensitively here, as history comes alive before us. The victim of the Brazilian regime’s brutality, ex-congressman Rubens Paiva doesn’t feel like a character in a story, but fully realised in flesh and blood. But it is his wife, Eunice Paiva, played by Fernanda Torres in a standout performance, who commands the screen with her steel and determination. This film does what Walter Benjamin demanded of history, “to seize hold of a memory as it flashes in a moment of danger”.
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Lost Highway 1997
In its first half, Lost Highway is a terrifying, tight, menacing piece of psychological horror. Then it becomes something else much more sprawling and indescribable — Lynch himself called it a “psychogenic fugue”, a state of memory/identity loss and unexpected wandering. The audience is at first alienated, but it doesn’t matter. We soon become dissociated wanderers ourselves, trying to cling on to fragments of sense in a shattered world. The aftertaste of unfathomable melancholy lingers long after the film ends.
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Some Nights I Feel Like Walking 2024
Some Nights brims with a queer energy, sometimes misdirected, that makes it a compelling watch, though it’s unclear beyond the obvious beauty of the film and its actors, whether the hinted-at trauma and grief have been given more than a cursory scratch.
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Kinds of Kindness 2024
Yorgos Lanthimos' latest excursion is certainly divisive. Before I went to watch it, a friend texted to tell me how much he didn't like it. When I posted the poster, someone replied "worst film 2024". I'm here to disappoint these folks by saying I did like it, and quite a bit. I relished its weirdness, but the human impulses for domination and devotion it explores are not at all outlandish. They are even commonplace. How often has one wished for…
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