100
"You are home"
For as long as I can remember, I have always been in love with the art of film. Whilst it is difficult to pinpoint an exact moment where my interest began, it is safe to say that I could not imagine my life turning out the way it has so far without the way movies have guided me through the toughest times and helped me grow as a person by leading me to self-discovery and enabling…
100
I would like to dedicate this review to my grandma, Liz Deakin, who died at the age of 90 on the 7th of November 2024.
The last three years of my life have been unfortunately defined by loss and grief. Whilst I am endlessly grateful that three out of my four grandparents managed to live long enough to both see me born and see me grow up, witnessing three people who have undeniably shaped my personality and opinions to…
Previously 99
Now 100
Whilst I always admired this film as an undeniably near-perfect portrayal of repression and unrequited love, I personally enjoyed this way more a second time around at a cinema, as it hit so much harder as a young adult who’s been through way more turmoil and anguish than a 16-year old who didn’t really understand the pain of love yet. Even though 2046 (2004) remains slightly better, this masterpiece still demonstrates why Wong Kar-Wai is one of the all-time greats.
75
“When we leap into the unknown, we prove that we are free.”
Politics and politicians aim to offer certainty and clarity on the issues that everyday people face, but something that films and art in general have proven to me is that certainty is an illusion and that the clarity offered by politics is often marred in falsehood. In contrast, sincerity flows endlessly in even the worst works of art, both filmic and otherwise, that I have seen. Megalopolis…
2
Frankly, this stoops even lower than the awful movie that necessitated this documentation for how detached and delusional all the cast and crew seem to be, acting as if their movie is a revolutionary and pioneering cinematic object that represents a progressive and inclusive future for cinema, when they are ignorant of the backwards reality that is Emilia Perez (2024). Particularly, this film epitomises how, in spite of her acting being the highlight of the movie due to the…
100
The postmodern power of nostalgia: both violence and cinema are dependent on the repurposing of memories into references that gain a greater power due to the personal manner in which they are inflicted. A gold watch and a MacGuffin golden briefcase are only placeholders for the casualness of violence that is increasingly revealed to the unassuming viewer.
