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Yi Yi 2000
nothing overly dramatic happens, yet by the end, you feel like you’ve lived an entire life with these characters.
edward yang understands how time moves, not in big, defining moments, but in small, unnoticed ones. a father questioning his past, a daughter learning heartbreak, a little boy seeing the world differently. everything stays with them, yet nothing stops.
the cinematography is just as delicate. distant framing, reflections, and empty spaces say as much as the dialogue. it’s all so restrained, yet deeply affecting.
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Juno 2007
it’s witty, offbeat, and way too obsessed with being quirky, but somehow, it works. beneath the snappy dialogue and the hamburger phone, there’s a bittersweet look at growing up, making choices, and realizing adults kinda suck too. the third act loses some of its bite, but the heart is still there.
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Possibly in Michigan 1983
a surreal fever dream wrapped in a pastel-colored nightmare. i appreciate the message about breaking free from patriarchal violence, where consumption is both literal and metaphorical, and women refuse to remain victims. unnerving, absurd, and strangely hypnotic.
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Mickey 17 2025
ᗷOᑎG ᑕᖇᗩᖴTᔕ ᗩ ᑕEᖇEᗷᖇᗩᒪ ᗩᑎᗪ EᗰOTIOᑎᗩᒪᒪY ᑕᕼᗩᖇGEᗪ E᙭ᑭᒪOᖇᗩTIOᑎ Oᖴ ᗰOᖇTᗩᒪITY, IᗪEᑎTITY, ᗩᑎᗪ TᕼE TEᖇᖇIᖴYIᑎG ᗪIᔕᑭOᔕᗩᗷIᒪITY Oᖴ ᔕEᒪᖴ. ᖇOᗷEᖇT ᑭᗩTTIᑎᔕOᑎ ᗪEᒪIᐯEᖇᔕ ᗩ ᕼᗩᑌᑎTIᑎG ᑭEᖇᖴOᖇᗰᗩᑎᑕE ᗩᔕ ᗰIᑕKEY, ᗩ ᗰᗩᑎ ᗷOTᕼ IᖇᖇEᑭᒪᗩᑕEᗩᗷᒪE ᗩᑎᗪ EᑎTIᖇEᒪY E᙭ᑭEᑎᗪᗩᗷᒪE, ᑕᗩᑌGᕼT Iᑎ ᗩᑎ E᙭IᔕTEᑎTIᗩᒪ ᔕᑭIᖇᗩᒪ TᕼᗩT ᑫᑌEᔕTIOᑎᔕ ᗯᕼᗩT IT TᖇᑌᒪY ᗰEᗩᑎᔕ TO ᗷE ᗩᒪIᐯE. YET, IT Iᔕ ᑎᗩᔕᕼᗩ ᗯᕼO ᗩᑎᑕᕼOᖇᔕ TᕼE ᖴIᒪᗰ’ᔕ EᗰOTIOᑎᗩᒪ ᑕOᖇE—ᗩ ᖴOᖇᑕE Oᖴ ᖇEᔕIᒪIEᑎᑕE ᗩᑎᗪ ᔕEᒪᖴ-ᗪEᖴIᑎITIOᑎ, ᔕTᗩᑎᗪIᑎG Iᑎ ᔕTᗩᖇK ᑕOᑎTᖇᗩᔕT TO ᗰIᑕKEY’ᔕ E᙭IᔕTEᑎTIᗩᒪ ᗪᖇEᗩᗪ. ᕼEᖇ ᑭᖇEᔕEᑎᑕE ᒪIᑎGEᖇᔕ, ᗩ ᖇEᗰIᑎᗪEᖇ TᕼᗩT IᗪEᑎTITY Iᔕ ᗰOᖇE Tᕼᗩᑎ ᒍᑌᔕT…