There are films that already possess the answers to certain questions and simply wish to share an abundance of previously acquired knowledge with an audience who is willing to listen, and then there are films that wish to use the camera as a means to explore certain questions and their potential answers, truths and untruths, subjectivities and objectivities. The latter of said filmmaking processes, while not necessarily possessing any instant gratification in terms of the audiences hunger for the truth,…
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Crayon Shin-chan: The Adult Empire Strikes Back 2001
Coincidentally, the immense cloud of nostalgia that envelops Hiroshi during the "memories" sequence, filling him with a peculiar, childish fervor, gradually trickles down into the audience as well; as just like the feeling a theme park or distinct smell conveys for the characters, for the audience, even if only ever briefly grasped, it's the vibrant streaks of crayon that take us back to the undoubtedly simpler times pertaining to our first watches of our favorite childhood TV shows, and it's through this somehow meta-cinematic, psychological exploration the film provides us with that we establish the lives we lead as meaningful.
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The Long Goodbye 1973
If I ever take up smoking it's either because of Bob Dylan, Kim Jong-un or Elliott Gould in The Long Goodbye.
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American Psycho 2000
WHO WOULD WIN?
PATRICK BATEMAN, CEO OF MERGERS AND ACQUISITIONS AT PIERCE & PIERCE
VS
LUIGI MANGIONE
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Inland Empire 2006
A digital hellscape so simultaneously thematically dense yet spacious with respect to the lack of closure any newfound fragment of information gives the audience, resulting in a scattered, pixelated mess in which one can only desperately attempt to salvage the pixels that hold some semblance of prominence or reflections of traditional models of storytelling, but that's all void here, and this process is both mentally and physically taxing to bear witness to. Even the most tranquil and seemingly mundane moments…
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