film

  • On Film, Movies, Cinema

“Sudden Fear” (1952): Neither sudden nor fearful

"Sudden Fear" tells the tale of a playwright that married the wrong man and was almost written out of the…

4 years ago
  • Faves

The Genius of Ozu’s “Good Morning” (1959)

Children in Good Morning protest social mores because they fail to appreciate the rules governing the relations of families and…

4 years ago
  • On Film, Movies, Cinema

Is Writing About Bad Movies a Waste?

In which I performatively answer the question with reference to an episode of The Mandalorian, whether one should write about…

4 years ago
  • On Film, Movies, Cinema

Joanna Hogg’s “Unrelated” (2007): The Desire to Belong

Reflections on an early film by the British film director Joanna Hogg, which I viewed in preparation for seeing The…

5 years ago
  • On Ideas, Concepts, Intuitions

Does Philosophy Do Film?

"Clearly you are not a bowler": Can film do philosophy? Can philosophy do film?

5 years ago
  • On Film, Movies, Cinema

Uncertain reflections on the Coen Brothers’ misanthropy

Reflection on David Denby's critique of the Coen brothers' consistent misanthropy

10 years ago
  • On Film, Movies, Cinema

“Hiroshima Mon Amour” (1959), Part 1

Bodies impersonal but affective are instruments of memory.

10 years ago
  • Viewing Journal

“Pépé le Moko” (1937): Failure to Escape

Comments on the 1936 film Pépé le Moko, starring Jean Gabin, and set in the Casbah

16 years ago
  • Faves

Hitchcock’s “Rear Window” (1954): Murder as Fantasy, Sex as Violence

Rear Window appears a murder mystery in which Jeff and Lisa play amateur sleuths. In truth, the film is a…

17 years ago