Emmanuel

Emmanuel

Favorite films

  • Andrei Rublev
  • Barry Lyndon
  • Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

Recent activity

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  • On Falling

  • Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

  • The Island

  • The Quick and the Dead

Recent reviews

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  • On Falling

    On Falling

    Depicts a bleak reality for many, those trapped in a system lacking the confidence or the opportunity to escape, exacerbated here by living in a foreign land. This is a film of quiet, mundane desperation, not unlike last week’s screening of Jeanne Dielman (1975), however I struggled here. It needed more - more drama, a payoff, an exciting script, or visual style - it is played very sober, realistic but without an interesting narrative, like say, Nomadland (2020).
    I appreciate the…

  • Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

    Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles

    A blind screening for me, something I hadn’t heard of before. A fascinating piece of filmmaking. 

    The effect this has on its audience is remarkable. Undulating between boredom and intrigue, you share an existence with a person going about their ordinary routine, except it is far from ordinary. The camera’s gaze makes every movement conspicuous, our attention is in itself consequential, where is this going? I found myself recalling psychoanalyst Slavoj Zizek recently speak to the idea that we are…

Popular reviews

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  • Marching Band

    Marching Band

    it is quite beautiful how the contrast between their lives is illustrated both musically and socially. We very quickly learn to admire and respect each of them, and watching them navigate the complicated nature of their newfound brotherhood is incredibly cathartic, it’s grounded and sincere with a good sense of humour. Sometimes getting blind drunk together is the best way to show you care.
    The ending scene had people in tears. Superb performances all round.

  • Blitz

    Blitz

    a distressing story. There was a clear decision when writing the screenplay never to let up its consistent bombardment of provocation towards the audience. There were some confusing choices that were a little ham-fisted for my taste. Thematically it draws from an idea present in Ivan’s Childhood, whereby it contrasts the innocence of childhood with the harsh reality of war. Though that is where their similarities end; Tarkovsky favours dreamlike imagery, slow pacing, and poetic cinematography to evoke a meditative reflection…