Mexican Director & Editor
Former Film Journalist
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Lady Vengeance 2005
Geum-ja is a fascinating character for a revenge movie because she has already given up on her soul from the beginning. It’s as if she has the hindsight of Oldboy and Mr. Vengeance and knows how empty those characters ended up. But then Park Chan-wook reveals a brilliant perspective: maybe revenge can be a corrective not only for other people’s demons but for your own too. And so, the main conflict of Lady Vengeance is the revenge that she’s exacting on herself. It’s atonement, more so than retribution. Suddenly, rebirth is not off the table.
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Nope 2022
Lots of films can be seen as “being about films”, but few are this rich, this entertaining, and this self-referential. Nope is about the dilemma of chasing spectacle or chasing fulfilment, and realizing how –specially in this industry– sometimes both are connected. Just ask Spielberg. Spectacle will fuck you up, but when it’s on your side… the world gets Jaws. Nope is Jaws if Jaws was about how hard it was to make Jaws. It’s metamodernism fully realized: deconstruction with sincerity.
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Emilia Pérez 2024
Extremely jarring and distracting to experience cultural appropriation firsthand. Besides that and a puzzlingly bad collection of songs, it’s an interesting concept, and it’s executed with a lot of personality. Audiard really knows how to make an engaging musical number. If only this were directed by a Mexican or set somewhere else.
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Interstellar 2014
A space film of this level with its themes of love and wonder should be an automatic 5-star for me, yet I’m always thrown off by its insistence of spelling everything out to the point of spoiling itself. No other movie explicitly tells you the theme halfway through, by a character that we don’t even fully understand. I simply wish there was more silence, the characters never stop telling me what I should be feeling and thinking. Still, watching this on IMAX is a spectacular, one of a kind experience. It’s everything movie wonder should be. Frustratingly gorgeous, no other way to describe it.
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Love Never Dies 2012
me: mom, can we have Phantom of the Opera?
mom: no, we have Phantom of the Opera at home
Phantom of the Opera at home:
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Memories of Murder 2003
The Zodiac comparison is inevitable; they are both crime dramas about obsession. But whereas Fincher talks about the fixation with the truth, Joon-Ho focuses on the fixation with being right, even in opposition to the truth. The characters won’t escape their subjectivity because it’s easier to believe our falsehoods than to face ourselves.
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