Oct 1, 2025

Best Premiere Viewings of September 2025

FEATURES

1. Rosa de Areia / Desert Rose (Margarida Cordeiro & António Reis, 1989)


“I would like to be truly multiple. I would like to be a mother... infinitely. I... I’m still alive. But... I’m a dead soul already. I do not exist. Fragile thoughts dance in me.”

Employing literary excerpts (Kafka, Montaigne, Atharvaveda, Zen stories) as ciphers, Cordeiro and Reis weave an abstract story which portrays the invisible / intangible between the myth and history, arcane truths and primordial urges, personal narratives and universal themes on the grounds of Trás-os-Montes region in the northeast of Portugal. Breathtaking highlands become a playground for melancholic spirits whose rituals, in all of their peculiarities, are captured in lasting moments of sublime (visual) lyricism, leaving you stunned by their simple, yet mystifying beauty, further elevated by the rhapsody of nature’s voices. Desert Rose is a lucid dream defying to be interpreted, and reduced to words...

Recommended for the fans of Antouanetta Angelidi, (early) João César Monteiro and Sergei Parajanov.

2. La Terra Trema / The Earth Trembles (Luchino Visconti, 1948)


“Your nice proverbs don’t work anymore.”

And almost eighty years later, many proverbs have been completely stripped off their relevance, along with the society’s steadfast decay into cruelty, portended by the (sleazy) characters of wholesalers. A harrowing chronicle of a poor fisherman’s family, Visconti’s sophomore feature (and my second encounter with the filmmaker) teems with the rawness of everyday life, elegantly and poignantly captured in expressive B&W. Featuring exclusively non-professional cast – collectively credited as ‘Sicilian Fishermen’ – this social(ist) drama strikes you with its masterly guided naturalness, as a number of protagonists demonstrate outstanding thespian skills. It effortlessly elicits the viewer’s empathy, all the while keeping you at a slight distance, and without slipping into didacticism, it compassionately explores the themes of poverty and greed through both personal and economic struggle of common folk. The village of Aci Trezza where the story is set invites you with its stone walls and narrow streets, notwithstanding the harshness that rules there...

3. Αναπαράσταση / The Reconstruction (Theodoros Angelopoulos, 1970)


The most accessible of Angelopoulos’ works I’ve seen so far, and arguably, one of the finest debuts ever made, The Reconstruction is a formally astounding piece of cinema. Stunningly shot in high-contrast black and white, its deep shadows externalizing the antagonists’ inner darkness, this crime drama plays out like an insightful character (and social) study set against the backdrop of a dying village. Events surrounding the murder of an expat by his wife and her lover are structured in a non-linear fashion, framed not only with a keen eye, but also with a strong intent of digging deeper than the motives, and reconstructing more than the misdeed itself. Helmed with an unwavering hand, and with director’s focus pulled towards the (striking) imagery, rather than (sparse and concise) dialogue, the film rests on the tradition of classic Greek tragedy, anticipating the features of Béla Tarr and György Fehér, although rain makes both mud and poetry here...

4. Witte Wieven / Heresy (Didier Konings, 2024)


Made for Dutch television, as a part of a horror series presented by Martin Koolhoven (Brimstone), Heresy marks a highly promising directorial feature for Didier Konings who has so far worked as a concept artist on a number of Hollywood productions, from Stranger Things to Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn). Its grim, medieval tale of a barren woman gradually ostracized by her religiously patriarchal community bears certain similarities with The VVitch, particularly in the mood, but unlike Eggers’ implicit, deliberately paced film, this hour-long offering doesn’t shy away from showing the actual and at times quite gory goings-on in a misty forest where mythological Witte Wieven (lit. White Ladies) reside. Briskly paced, with not a single shot wasted (well, maybe apart from a few nocturnal frames that could’ve been less obscure), it pulls you into its oppressive, claustrophobic setting primarily by virtue of its heroine Frieda (Anneke Sluiters in a nuanced performance, somewhat evoking Sissy Spacek’s Carrie, and transforming from a vulnerable devotee to resistant proto-feminist to screaming banshee) who poses as both the emotional core, and the link to modern times, i.e. the burning issue of bodily autonomy. One can really feel her suffering that’s largely imposed on her by the toxic trinity of her condemning (and likely, impotent) husband, Hikko (Len Leo Vincent), the village’s condescending pastor Bartholomeus (Reinout Bussemaker), and a lascivious butcher, Gelo (Léon van Waas), whose attempted rape is punished in a gruesome way that evaporates the boundaries between a tree, human flesh and sculpture (kudos to the practical effects artists). And there’s a lot more to appreciate here (and wonder how they pulled it on a modest budget), from a Toro-esque monster and excellent production design to eerily beautiful cinematography and phantasmal score that will surely get your inner goth going. 

5. Harvest (Athina Rachel Tsangari, 2024)


“Good grief, this film looks stunning!” – I frequently repeated to myself, immersed in Sean Price Williams’ 16mm framing, whether it evoked Breugelian peasant scenes, the pagan ways of Hardy’s The Wicker Man, Malick’s pastoral poetry, or German’s mud-smudged visions from Hard to Be a God. Equally impressed by the contributions of Kirsty Halliday and Nathan Parker for, respectively, their costume and production designs, I felt as if I traveled back to the unspecified time (probably during Highland Clearances) and place (unnamed village somewhere in Scotland), navigating the medieval-like setting as if in a lucid (fever) dream. Both archaic and anachronistic, Harvest struck me as simultaneously surreal and down-to-earth, its blend of historical fiction and modern sentiment playing out like a tale of a (deceitful) paradise lost, imbued with a hard knock at xenophobia, parochial attitude, and evils of capitalism. Tsangari directed the feature with a deliberate pace and keen sense of world building (and its demolishing), her knack for weirdness ever-present yet restrained, eliciting excellent performances from the ensemble cast headed by Caleb Landry Jones as the narrator and decidedly passive hero.

6. Bramayugam (Rahul Sadasivan, 2024)


“Those in power take pleasure in toying with the freedom of others.”

The one in power here is Kodumon Potti – the creepy, mysterious owner of a dilapidated mansion secluded in the forest – portrayed with a diabolical bravura by veteran actor Mammootty whose five decades-long experience marks every nuance of his performance. At once opposing and complementing his commanding presence are Arjun Ashokan as Thevan, a singer of Paanan caste who stumbles upon the house while on the run from slavery, and Sidharth Bharathan as the unnamed servant burdened by his master’s dark secrets, both playing their roles with aplomb. The minimal cast and claustrophobic location, as well as muddy and silvery B&W imagery have earned comparisons to The Lighthouse, though Sadasivan’s folk/psychological horror is a different sort of nightmare, one that explores entrapment, not only physical, but also spiritual, and even metaphysical, in the repeating cycle of evil. Admirably aligned with the central theme is the sweaty, densely oppressive, and subtly eerie atmosphere that is achieved through deliberate pace (paying off with a feverish confrontation), superb sound design, and phantasmal score. Bramayugam isn’t without its share of flaws (such as expository bits), nor is it a revolutionary addition to the genre, but most of its drawbacks fade in comparison to its many qualities.

7. Born in Flames (Lizzie Borden, 1983)


“We still see the depression from the oppression that still exists, both day and night. For we are the children of the light and we will continue to fight. Not against the flesh and blood, but against the system that names itself falsely...”

Set in a dystopia rising behind the facade of ‘socialist democracy’, Born in Flames has to be one of the most revolt-inspiring films ever made. Politically conscious in its raw, pamphletic poetry, and, at the present moment, alarmingly relevant, it is directed with a punk attitude and sense of urgency for justice, primarily gender, but racial, social and sexual as well. Its themes – filtered through the actions of a radical feminist group dubbed Women’s Army – sit pretty well with the grungy 16mm cinematography, abrasive soundtrack, and unaffected, cinéma vérité-like performances from a largely non-professional cast, with the acclaimed filmmaker Kathryn Bigelow making her big-screen debut in a supporting role.

8. I fidanzati / The Fiancés (Ermanno Olmi, 1963)


A meeting point between neorealist and modernist cinema, The Fiancés recounts the hardships of a factory welder, Giovanni, as well as the long-distance relationship with his estranged fiancée, Liliana, reflecting on loneliness, longing, and confusion brought upon a man by a new environment and a rapidly changing world. Pervaded by an intense sense of melancholy which is beautifully translated into deep, tenebrous shadows of Lamberto Caimi’s mesmerizing cinematography, this is a rather somber affair, but one with the lyrical heart beating under its dry, grimy skin. Under Olmi’s taut direction, Carlo Cabrini and Anna Canzi – both in their big screen debuts – give understated performances, adding to the film’s stern naturalness, with editor Carla Colombo doing an excellent job of capturing the protagonist’s mental state, and his revitalized love towards the (deliberately abrupt) conclusion, thoughtfully utilizing flashbacks and intimate montages. 

9. Earth Girls Are Easy (Julien Temple, 1988)


Two years after Cronenberg’s masterwork The Fly, Geena Davis and Jeff Goldblum (then married) are partnered on screen once again, this time as an interspecies couple in a cartoonishly campy, entertainingly silly, and wittingly sexy blend of sci-fi, rom-com and musical effervescently helmed by music video director Julien Temple. Initially covered in blue fur, Goldblum portrays Mac, a captain of a plastic toy-like spaceship from the Jhazalla planet, with Jim Carrey and Damon Wyans buffooning their way into the roles of his horny crewmen, Wiploc and Zeebo. Luckily, they crash into the pool of a handsome manicurist, Valerie (Davis), who works at an LA beauty parlor, so their transformation into human party dudes is made possible in no time, but their adjustment to the third rock from the Sun isn’t without its havoc-ensuing challenges. As lively and garish as an 80’s film gets, Earth Girls Are Easy is an uplifting piece of low-brow cinema that’s anchored in its spot on cast, flamboyant visuals and poppy soundtrack, serving stereotypes with a tongue-in-cheek attitude.

10. Mirrors (Harry Winder, 1985)


Big dreams in the Big Apple, under the heavy weight of unsparing reality. A Detroit-born ballerina, Karin (Marguerite Hickey), suffering from diabetes, struggles to navigate both personal and professional life in a tight-knit community of dancers. Ad astra, many are the difficulties she’ll have to face, even after the credits start rolling, and yet, Winder tells her familiar (and relatable) story in a way that feels strangely unburdening, as if the world of pointe shoes, strenuous rehearsals, and somewhat humiliating Broadway auditions exists independently... almost. He provides the viewer with the bittersweet experience – probably romanticized to a certain extent, but who cares – of being young and aspiring in New York of the time, surrounded by people supportive and caring of each other. Making the most of a TV production, he delivers a feature of down-to-earth beauty, its fortes lying in Paul Rubell’s tight editing, handsome lensing by Fred Murphy (The Scenic Route, The State of Things), and Graciela Daniele’s superb choreographies one of which is imbued with subtle eroticism, doubling as a sex scene.

11. Body Rock (Marcelo Epstein, 1984)


Sometimes, stress and anxiety relief emerges from a most unexpected place, such as a Breakdance musical in which Lorenzo Lamas (later, of Renegade fame) moonwalks into the role of a street artist, Chilly, whose mother is a blonde-wigged cameo of Grace Zabriskie, and whose success on a local clubbing scene comes with a price that is a forced kiss from Joseph Whipp (Sgt. Parker in A Nightmare on Elm Street) as a big shot, Donald, on a dance-floor of a gay bar. The film is so silly, it’s borderline brilliant – a sparkling time capsule of the 80’s that marries impressive breakneck choreography to superb cinematography from none other than THE Robby Müller – yes, the man who shot Wenders’ masterpiece Paris, Texas in the same year. It is a non-stop barrage of catchy pop tunes – one of which is performed by Lamas himself (!) – that accompany the viewer on a nostalgic, neon-lit, rainbow-colored joyride helmed by music video and one-feature-only director Marcelo Epstein, his tongue deeply planted in the cheek.

SHORTS

Syntagma (Valie Export, 1983)


An exploration of (women’s) body, (moving) image and their correlation in disjointed time and fragmented space, Syntagma is a prime example of employing a wide variety of techniques – negatives, split screens, photographic prints, projections on flipping book pages, etc – to conceive the most suitable visual language in addressing the subject matter. The simplest of actions, such as descending the stairs or walking across the room, are transformed into substantial parts of an artistic / ritualistic performance turned into a formally and conceptually inspired piece of cinema, one which would certainly feel like a field day for feminists and film theorists.

Szél / Wind (Marcell Iványi, 1996)


Evoking the work of Miklós Jancsó, Wind is a one long take short that poses as a speculation on a story behind a 1951 B&W photo, Three Women, taken by Lucien Herve. Beautifully capturing the transition between life and death, Iványi's film is more than a mere student exercise, its Cannes accolade serving as a proof. 

Sep 26, 2025

A Selection of Recent Artworks: MONO (IV)

Under the weight of accumulated anguish, colors have dried up again, their deceptiveness now shrouded in shadows, scorned by light. In small flocks, the echoes of Truth travel from an ungraspable distance, falling unto lost, despondent souls. Silently and intuitively, they transform into the whispers of demonic wisdom, between the purity of Image, and Eternity inscribed in concrete...


Deeply Focused


Wishful Thinking


Dissident


No Ocean Inside


Cosmogonic Lullaby


The Tunnel


Dogma Killer


Fork on a Rope


Hero's Apex


Fragrant Lunacy


In the Absence of...


The Cuboids

Aug 31, 2025

Best Premiere Viewings of August 2025

1. Szabad lélegzet / Riddance (Márta Mészáros, 1973)


Cementing my love for the work of Márta Mészáros is a compassionate exploration of class, gender and generational conflict through a story of an independent factory girl fresh out of an abusive relationship who falls for a university student with snobbish parents. Also posing as a (feminist) portrait of youthful idealism, Riddance (or translated from Hungarian, To Breathe Freely) grabs the viewer’s attention by virtue of Lajos Koltai’s stunning cinematography, particularly when it comes to the framing of faces (Mészáros’ trademark), often telling more than any words would. Also praiseworthy are natural performances from the entire cast led by Erzsébet Kútvölgyi, sparking strong chemistry with her partner Gábor Nagy (also excellent!) in her confident big screen debut.

2. Szindbád / Sinbad (Zoltán Huszárik, 1971)


‘He was a strange, curious person, he wanted the life and he didn’t want it, finally committing suicide.’ This peculiar (and to this writer, somewhat relatable) detail from the bio of the leading actor Zoltán Latinovits (1931-1976) delineates – in a certain way – his stellar, melancholy-imbued portrayal of Sinbad, a Don Juan-like character reminiscing his ‘romantic escapades’. A sinuous stream of the protagonist’s memories tears the boundaries between the past and the present, forming and simultaneously de-forming a hazy, dreamlike narrative in which the wistfully lyrical, subtly sensual and painterly seductive images defy spoken words and weave the verses of sparkling sublimity. And though Thanatos incessantly breathes down Sinbad’s neck, the film appears to be gravitating towards the (purely cinematic) elimination of not only death, but time as well, with Huszárik, his cinematographer Sándor Sára, and co-editor Mihály Morell operating as a single entity, one whose presence is felt throughout eternity...

3. Moetsukita chizu / The Man Without a Map (Hiroshi Teshigahara, 1968)


Beginning as an investigation of a missing person case, The Man Without a Map gradually transforms into a profound reflection on one’s own identity and place in an increasingly alienating universe, with the urban jungle posing as the labyrinth of existential crisis. The central puzzle goes nowhere near its solution, leaving both our unnamed detective hero (a superb performance from Shintarō Katsu) and ourselves wandering from one dead end to another, as red herrings incessantly multiply. In his final collaboration with (screen)writer Kōbō Abe, multi-hyphenate director Hiroshi Teshigahara (Pitfall, Woman in the Dunes, Face of Another) skillfully employs (distorted) reflections, frames-within-frames, solarized dream sequences, jarring details in primary colors and whatnot to amplify the viewer’s bewilderment, often reaching for the farthest recesses of the subconscious mind. Bleak and inscrutable, his metaphysical mystery is also a thing of beauty, dignified in its portrayal of pathetic human condition.

4. Shéhérazade / Scorching Sands (Pierre Gaspard-Huit, 1963)


Anna Karina embodies truth, wisdom, courage, forgiveness, persistence, defiance and hope as the titular heroine in Pierre Gaspard-Huit’s heightened period melodrama that exoticizes Oriental culture to the point of sheer fetishization. Adorned in gorgeous costumes matched by a stunning production design, she IS the film, her strong, magnetic presence felt even when she’s not gracing the screen. Partnered by Gérard Barray and Antonio Vilar as knight Renaud de Villecroix and Caliph Haroun-al-Rashid, respectively, who are vying for Scheherazade’s love, she also epitomizes the idealized pulchritude we often encounter in fairy tales. The romantic adventure she’s the very heart of is sweeping and rapturous, its mythologized reality wonderfully captured by the camera of Christian Matras (Lola Montès, Thérèse Desqueyroux) and André Domage. 

5. Clash (Raphaël Delpard, 1984)


“Why not live behind the shadows?”

A simple if risky job of money smuggling turns into a living and breathing nightmare for Martine (Catherine Alric) doing favor for her thief (boy)friend, Bé. Even before she arrives at the hiding place – an abandoned factory inhabited only by mannequins, she begins seeing visions, the first one being of her younger self with leech-shaped blood clots over eyelids. Once an eerie, tight-lipped stranger (Pierre Clémenti) appears out of nowhere, things go from bad to worse, or more precisely, from pretty weird to deliriously bonkers. Quite possibly inspired by the rampant irrationality of Italian horror cinema, and at times channeling some proto-Lynchian-woman-in-trouble vibes, actor turned director Raphaël Delpard abandons every bit of logic in the barrel-infested backyard of the said factory, because throwing it out of the windows seems impossible, as they prove unbreakable. Thus leaving the viewers to solve the puzzle(s) as they please (or not!), he paints an absurd portrait of fear and guilt (and broken childhood?); a surrealistic fever dream beautifully framed by versed cinematographer Sacha Vierny (Last Year in Marienbad, Belle de Jour, L'hypothèse du tableau volé).

For a double dose of utter WTF-ery, I recommend Jean-Pierre Mocky’s 1982 feature Litan as a companion piece.

6. Bayn al Remal / Within Sand (Moe Alatawi, 2022)


In equal measures breathtaking and unwelcoming, the desert of the Neom area is more than a setting – it is a whimsical character in its own right, as well as a reflection of the mental and emotional state of the film’s hero. After he leaves the caravan, young tobacco-merchant Snam (Ra’ed Alshammari) is ambushed by a trio of thieves and later joined by a big, one-eyed wolf on his way home where his pregnant wife Halla (Adwa Fahad) waits for his return. The account on his survival amidst the dunes and rocky mountains is ‘based on a true story that’s engrained in Saudi culture’, in the director’s own words, and marks a few milestones for the nascent cinema of Saudi Arabia. Gorgeously framed and graciously paced, Within Sand never appears like the work of an inexperienced filmmaker – Moe Alatawi’s grip rarely loosens, and his control of both human, largely non-professional actors and the beast is admirable. The addition of hallucinatory visions and dream sequences enriches the folk tale-like adventure, and in a way, softens the harshness of the landscape, all the while amplifying its borderline-surreal nature.

7. Gekijōban Mononoke Dai-Ni-Shō: Hinezumi /
Mononoke the Movie Chapter II: The Ashes of Rage (Kenji Nakamura & Kiyotaka Suzuki, 2025)


Returning to the Ōoku quarters of the Edo castle, Kenji Nakamura – this time assisted by Kiyotaka Suzuki – delivers another visually arresting phantasmagoria which appears as if it absorbed all the colors, shapes and patterns of the world, alchemically transmuting them into an overwhelming, über-psychedelic smörgåsbord for the senses. As jaw-droppingly gorgeous as its predecessor (and as its successor will certainly be!), with the traditional and electronic music in a time-bending fusion, Chapter II of the planned Mononoke trilogy explores jealousy and familial conflicts, as the characters climb the social ladder, elbowing whomever they deem a threat (thus awakening demonic forces). However, the story is of secondary importance here, not to mention that it’s quite a challenge to follow it with your eyes glued to the screen, and mind blown by what they witness. Did I mention how astonishing the artwork is?

8. Maléfices / Where the Truth Lies (Henri Decoin, 1962)


If the English version of the title were a question, we would all know the answer – not in the mouths of our leaders. Politics aside, Where the Truth Lies could be described as an atmospheric blend of dysfunctional marriage (melo)drama and adultery thriller, with hints of black magic thickening the air of mystery which envelopes the proceedings. An affair between a village vet (Jean-Marc Bory) and an enigmatic, African-born woman (Juliette Gréco) who keeps a pet cheetah (!) dissolves the image of the guy’s seemingly harmonious relationship with his wife (Liselotte Pulver), as Decoin tosses a whole school of red herrings that point at the possibility of ‘evil spells’ which is the literal translation of Maléfices. Where his film shines brightest is the striking use of Marcel Grignon’s highly expressive B&W cinematography that wouldn’t feel out of place in a gothic horror, as well as the visuals’ strong synergy with Pierre Henry’s discordantly foreboding score that underlines the dark side of love.

9. Souvenir (Michael H. Shamberg, 1996)


In the only feature offering from Michael H. Shamberg (1952-2014) – best known for producing New Order music videos, singer turned actress Miranda Stanton plays Orlando, a reticent, expatriate American sports journalist who lives and works in (deglamorized) Paris. Haunted by the memories of her abusive childhood, she is the benevolent heart of a dreamy, stream-of-consciousness narrative that brings together ghosts of the past and prospects of the future into the sullen present dissolving under the weight of the trauma. Fragments of her everyday life are often intertwined with the imagined conversations of teenage Orlando with her late brother, Charles (voiced by Christina Ricci and Adam Hann-Byrd, respectively), that hint at their incestuous relationship, and further blur the boundaries between the real and imagined. Add to that bizarre computer sessions featuring graphics created by the acclaimed experimentalist Chris Marker, and you have yourself a lyrically outré portrait of an emotionally scarred woman, and simultaneously, a formal challenge that sees every technique, from soft focuses to slow motion to tracking shots to handheld montages, employed as an asset for externalizing the heroine’s innermost workings. Supporting Stanton in what feels very much like a deeply personal project are Kristin Scott Thomas as Orlando’s superior, and Melvil Poupaud as Charles.

10. Nemo / Dream One (Arnaud Sélignac, 1984)


Read my review HERE.

11. La fuga / The Escape (Paolo Spinola, 1965)


“The day on which man manages to control his subconscious as he controls his conscience will be the dawn of a great era...”

There’s a thick air of mystery surrounding Giovanna Ralli and Anouk Aimée in their bravura portrayals of two women, Piera and Luisa, who get involved in a lesbian relationship, once the former realizes she’s stuck in an unhappy marriage (with a nuclear physicist), all the while weighed by a childhood trauma triggered by her parents’ separation. Both of them have long been searching for meaningful affection, and Spinola – in his psychosexual or rather, psychoanalytical debut – strives to understand his heroines, primarily focusing on Piera, and telling a story in a non-linear fashion, though flashbacks, dreams, diary-like and psychotherapy sequences. Subtle in achieving palpable erotic tension, he elicits eloquent looks and gestures from the leads, their beautiful faces magnetically captured in stark B&W by Marcello Gatti, with Piero Piccioni’s smooth, atmospheric score accentuating the mesmerizing and all-pervading elegance.

12. Redenção / Redemption (Roberto Pires, 1959)


The abrasive textures of both image and sound – due to the original stock heavily deterioration, and despite the restoration – lend a certain charm to Roberto Pires’ feature debut. Directed with a penchant for pulpy fiction, and – no doubt – influenced by Hollywood noirs, Redemption almost effortlessly sucks you into its shadow-infested world, and elicits sympathy for the deeply flawed characters (played by firsttimers and non-professionals) coping with unsparing reality. A pioneering example of ‘Igluscope’, the film is shot through the lenses which the author himself developed in his father’s optics shop, providing each frame with slight distortions at the edges, and thus reinforcing the notion of cinema as a dream. It may not be a groundbreaker, but it is a commendable effort nonetheless.

13. Oh, Hi! (Sophie Brooks, 2025)


“We need to cut the shit and turn to witchcraft.”

And turning to witchcraft is only one phase of Iris’s ‘going to absurd lengths’ plan to make her boyfriend Isaac love her during a romantic getaway that goes awry. What initially appears like a match made in heaven situation gradually glides into a silly micro-hell for poor Isaac who spends a good deal of the film’s running time handcuffed to bed. He’s a ‘classic softboy’ deserving of a sweet torture which writer/director Sophie Brooks employs to explore Millennials’ gender dynamics, poking fun at both young men and women, all the while demonstrating a keen sense of tonal shifts and wry humor. Behind a rather banal title that significantly lowers one’s expectations, she conceals a charming anti-romantic comedy that primarily works by virtue of good chemistry within the small, yet playful cast, with big-and-sad-eyed Molly Gordon in the lead being an affection-hungry standout. 

14. Almost Blue (Alex Infascelli, 2000)


Married to an atmospheric rock score, with Elvis Costello’s song Almost Blue posing as an aural leitmotif, a stylish, closeup-fetishizing cinematography by Arnaldo Catinari helps create a strong sense of discomfort in Alex Infascelli’s giallo-esque feature debut revolving around a self-mutilating, identity-shifting psycho who terrorizes Bologna. In a slight subversion of the said subgenre, victims are largely male students, and a profiler in charge of the case is a woman, Grazia Negro (Lorenza Indovina), who will be assisted by a blind hacker, Simone Martini (Claudio Santamaria), unwittingly becoming one of the next targets. Inexperienced yet ambitious, our heroine faces not only a difficult assignment, but also the prejudice of her colleagues, and the mental strain she’s under throughout the investigation is often reflected in Catinari’s framing, as well as in the use of soft focus, and visual barriers. Infascelli elicits solid performances from his cast, with Rolando Ravello making the most of the limited screen time to instill some dread as the killer. 

Honorable mention: La sorcière / The Witch (Andrzej Żuławski, 1958)


Andrzej Żuławski’s exquisitely framed (and surprisingly reserved) 7-minute debut created at IDHEC (Institut des Hautes Études Cinématographiques).

Aug 19, 2025

A Selection of Recent Artworks: MONO (III)

In times of extreme vulnerability, amped-up stress and ever-increasing anxiety, creativity and its fruits should act as a sort of a cure - a placebo, at least - but even that is called in question when the creators, in their helplessness, face destructive forces whose animosity spreads through the air, and just like the virus, infects not only the proponents of evil, but its opponents as well. The thoughts of the darkest nature just keep accumulating, intent to absorb the last remnants of beauty, and yet the artist still chases some foolish ideal in futile attempts to escape utter madness. Meanings seem to have been lost in the great labyrinth of what they call life, and the spirit, its bareness striving to appease reality, desperately falls for death...


Light in the Crypt


Hero's Dawn


Knowledge Unknown


The Contact


Zero Faith

Aug 18, 2025

Nemo / Dream One (Arnaud Sélignac, 1984)


“In this land, all of us are alone, and far from home, and we must comfort each other and make the best of things... This is a strange country. In the day, it is always twilight, and in the night, you can hear the roar of the stars... Only those who are truly lost can find their way here.”

Arnaud Sélignac’s directorial debut is a quirky animal, akin to those you can find in children’s drawings, its naivety laced with peculiar charm. Told from the dream-perspective of a boy, Nemo (Seth Kibel and Jason Connery, respectively, as a kid and teen versions of the hero), it is a decidedly outré mélange of various, oft-incongruous influences, from Luis Carroll to Jules Verne, lifted from bedtime stories.


A plushy comes to life as an albino, organ-playing ape (Dominique Pinon, unrecognizable in the fur-suit). Harvey Keitel jumps into the role of a Zorro-like hero, Mr. Legend. Mathilda May makes her ethereal big-screen debut as Princess Alice of Yonderland. Carole Bouquet – of That Obscure Object of Desire fame – is perfectly cast as a female alien, Rals-Akrai. Katrine Boorman (Excalibur) purrs with a thick accent as a Russian countess, Duchka, amplifying the gleefully high campiness of it all. And sharing his wisdom with a bunch of characters lost in what can be described as one of the weirdest and pulpiest coming-of-age tales is ‘the poet laureate of television’ turned actor Nipsey Russell as Mr. Rip.

Anything seems to go in this fantasy which pays a loving homage to early talkies in its B&W prologue, only to put a spell on you with the magic of lighting and quaint, meticulously designed studio sets by Gilles Lacombe and Nikos Meletopoulos who would collaborate with his namesake provocateur Papatakis on The Photograph (1986) and Walking a Tightrope (1991). Further elevating the viewing experience – a throwback to the age of innocence – is wonderful cinematography by Philippe Rousselot and evocative score by Gabriel Yared, both of whom previously worked alongside Jean-Jacques Beineix on his delightful drama The Moon in the Gutter (1983).


Aug 16, 2025

A Selection of Recent Artworks: MONO (II)

Under the weight of accumulated anguish, colors have dried up again, their deceptiveness now shrouded in shadows, scorned by light. In small flocks, the echoes of Truth travel from an ungraspable distance, falling unto lost, despondent souls. Silently and intuitively, they transform into the whispers of demonic wisdom, between the purity of Image, and Eternity inscribed in concrete...


Memorial


Rite of Passage


Glittering Dust


A Nameless Cave
feat. actress María Casares (1922-1996), who played Death in Jean Cocteu's Orphée (1950) and Testament d'Orphée (1960), and physical culture proponent Bernarr Macfadden (1868-1955)


S.o.S.o.S. (Sailing over Sea of Sorrow)


Dear Charon...


Babylonian Delight
dedicated to Pier Paolo Pasolini (1922-1975) and José Saramago (1922-2010)