Thread by @JacquiWine

IL DIVO (Paolo Sorrentino, 2008). I thought I’d seen this before, but now I’m not so sure. Either way, it felt like something of a companion piece to THE CONSEQUENCES OF LOVE. A strangely compelling film.

Another film that hits harder second (or third?) time around:
Andrea Arnold’s RED ROAD (2006) featuring the always excellent Kate Dickie.

THE NEST (Sean Durkin, 2020). Why aren’t more people talking about Carrie Coon as a potential awards contender or have I completely missed that conversation? One of the best performances I’ve seen over the past year.

MOONLIT WINTER (Dae Hyung Lim, 2019). This is lovely, a slow-burn story of repressed emotions that takes time to unfold. Reminiscent to Kore-eda and Naomi Kawase - part of Mubi’s South Korean series, I think.

DON’T BOTHER TO KNOCK (Roy Ward Baker, 1952) featuring Marilyn Monroe and Richard Widmark.
Monroe is pretty good in this noirish drama - playing an unhinged babysitter in charge of a young girl.

A TALE OF WINTER (Eric Rohmer, 1992). A beautiful story of love, chance and faith. Just gorgeous!
(Currently available on Mubi.)

COMETS (Tamar Shavgulidze, 2019). Thematically similar to MOONLIT WINTER (above), this Georgian film is another slow burner. A beautifully filmed tale of two women reconnecting after several yrs apart. Not quite sure the final section worked for me, but interesting nonetheless.

NIGHTMARE ALLEY (Edmund Goulding, 1947). Absolutely loved this. So dark. So brilliant. So unforgiving…
The GdT remake will have a hard time topping this.

THE REMAINS OF THE DAY (James Ivory, 1993). This still holds up, I think. Probably my favourite performances by Anthony Hopkins and Emma Thompson.
(On the iPlayer until Saturday evening.)

ODETTE (Herbert Wilcox, 1950). I am very much here for anything featuring Trevor Howard.
(On the iPlayer until Wednesday morning.)

I loved Chloe Mazlo’s semi-autobiographical film SKIES OF LEBANON (2020), currently available on Mubi. It’s quirky and charming but also heartbreaking - with shades of Wes Anderson at times.

NIGHTMARE ALLEY (Guillermo del Toro, 2021). Very pleasantly surprised by this! It’s properly cinematic, and Cate Blanchett makes a terrific femme fatale. A worthy update of the original.

FACES PLACES (Agnes Varda, 2017). Ah, this is lovely! Varda and photographer/street artist JR travel across France, creating giant photos/artworks of various people along the way. Such a beautiful, moving, optimistic film.
(Currently on Mubi.)

One of the things I like about Mubi is their support for screening short films.

NAJDA IN PARIS (1964) is a beautiful short by Eric Rohmer, illustrating a foreign student’s view of Paris. A freewheeling trip through the city in the ‘60s.

My #Top5FirstViews for January - a stellar month!

NIGHTMARE ALLEY (Edmund Goulding, 1947);

LICORICE PIZZA (Paul Thomas Anderson, 2021);

WEST SIDE STORY (Steven Spielberg, 2021);

A TALE OF WINTER (Eric Rohmer, 1992);

FACES PLACES (Agnes Varda, 2017). #Films

Let’s see how long I can keep going with this 2022 film thread…

February viewing:

TOKYO SONATA (Kiyoshi Kurosawa, 2008). I liked this family drama a lot, even though it tipped into melodrama in the second half. A little like Kore-eda’s darker films. (Currently on Mubi.)

WILDLAND (Jeanette Nordahl, 2020). The women are particularly good in this drama of toxic family dynamics. A Danish riff on ANIMAL KINGDOM with a terrific performance by the young lead. (Mubi)

I doubt you’ll be surprised to hear me say that I loved Almodovar’s PARALLEL MOTHERS (2021), but mostly I just want to live in that apartment. Gorgeous interiors as ever! #ParallelMothers

WATER LILIES (Celine Sciamma, 2007), a beautiful, moving film about the hurt and awkwardness of adolescent love. Emotionally raw, it’s excruciating to watch at times - and I mean that as a compliment to Sciamma’s directorial skills. (On Mubi.)

Very much enjoyed NEVER GONNA SNOW AGAIN (Malgorzata Szumowska, Michal Englert, 2020). Part social satire, part dreamlike fable, this compelling film casts a very unsettling spell. Definitely one I’d like to watch again. (On Mubi.)

AFTER THE STORM (Hirokazu Kore-eda, 2016). I loved this - another of Kore-eda’s beautifully observed dramas about the complexities, pleasures and disappointments of family life. (On the iPlayer if you’re very quick!)

THE NIGHT DOCTOR (Elie Wajeman, 2020). Vincent Macaigne is the best thing about this drama set in the Parisian underworld. It seems to be going for a SPIRAL vibe, especially with the music! (On Mubi.)

SPENCER (Pablo Larrain, 2021). An unnerving, fable-like portrayal of an isolated Diana trapped by the impossible expectations of the royal firm. The score, by Jonny Greenwood, is tremendous. He reallly ought to have been nominated twice.

BALLAD OF A WHITE COW (Behtash Sanaeeha and Maryann Moqadam, 2020). A quietly compelling Iranian drama about the fallout from a devastating miscarriage of justice. Fans of Asghar Farhadi’s work would likely appreciate this. (On Mubi.)

Really enjoyed GAGARINE (Fanny Liatard and Jeremy Trouilh, 2020), in which a teenage boy tries to save a run down housing complex from demolition. The blend of fantasy and reality gives this film a dreamlike sense of beauty. (On Mubi.)

PERSONAL SHOPPER (Olivier Assayas, 2016). Part ghost story, part exploration of grief, this film gets better and better with every watch. My favourite Kristen Stewart performance, I think. (On the iPlayer.)

ASAKO I & II (Ryusuke Hamaguchi, 2018). Grateful for an opportunity to catch up with this Hamaguchi, courtesy of Mubi. An interesting exploration of the balance between physical and emotional attraction. Intriguing premise too!

MARTIN EDEN (Pietro Marcello, 2019). Thoroughly enjoyed this adaptation of Jack London’s novel about the gruelling impact of the pursuit of literary success. A richly imagined story, enhanced by beautiful cinematography and snatches of archival footage throughout. (On Mubi.)

BLACK MEDUSA (Ismael, Youssef Chebbi, 2021). This story of a female serial killer living a double life is beautifully shot. Nevertheless, I would have liked a bit more insight into her character and motivations. (On Mubi.)

THE TOLL (Ryan Hooper, 2021). Too many quirky, eccentric characters in this Welsh Fargo-esque crime drama/Western mash-up. I really should have bailed at the halfway mark! (bfi player.)

LATE SPRING (Yasujiro Ozu, 1949). Still my favourite Ozu, I think. Utterly heartbreaking - but I love the way this director captures the rhythms of Japanese life. (bfi player.)

PULSE (Kiyoshi Kurosawa, 2001). If, like me, you sometimes imagine ghostly figures moving around in the dark at night, you’ll probably find this film really unnerving. A very effective J-horror about people trapped in their own loneliness and isolation. (BFI Player.)

PETITE MAMAN (Celine Sciamma, 2021). Well, that was absolutely enchanting!
A beautiful, deeply affecting film about loneliness, isolation and loss. My new favourite Sciamma. (Mubi) #PetiteMaman

EARLY SUMMER (Yasujiro Ozu, 1951), the second film in the Noriko trilogy. Another beautiful, delicately balanced exploration of the gulfs between the generations. The tension between personal desires and familial obligations is captured so well. (BFI Player)

THE FLAVOUR OF GREEN TEA OVER RICE (Yasujiro Ozu, 1952). Another beautifully observed domestic drama as a marriage continues to unravel. Some brilliant moments of humour in this. (BFI Player)

LATE CHRYSANTHEMUMS (Mikio Naruse, 1954). A beautiful, melancholy tapestry featuring three ageing geishas, one of whom has turned moneylender. Some lovely performances from the women, all in central roles. (BFI Player)

EARLY SPRING (Yasujiro Ozu, 1956). Continuing my Japanese kick with another Ozu - this time exploring infidelity, loneliness, loss and forgiveness. Sensitively done, as ever, with some interesting secondary themes on workplace dynamics. (BFI player)

WHEN A WOMAN ASCENDS THE STAIRS (Mikio Naruse, 1960). Absolutely loved this. “It had been a bleak ordeal, like a harsh winter.” (BFI Player)

SUMMER 1993 (Carla Simon, 2017). Rewatching this heartbreaker in light of Simon’s recent win at Berlin. Such a moving portrayal of a young girl struggling to process loss, upheaval and grief.

Back on my Ozu kick with AN AUTUMN AFTERNOON (1962), a melancholy riff on the themes of LATE SPRING. Lots of echoes of parallel stories here as marriage brings inevitable change.

THE HEIRESSES (Marta Meszaros, 1980), a sumptuous Hungarian gem featuring a young Isabelle Huppert - she hasn’t aged a bit over the past 40 years! (Available to view on Mubi if you’re very, very quick!)

LATE AUTUMN (1960, Yasujiro Ozu, 1960). Gorgeous! Very much of a piece with AN AUTUMN AFTERNOON - the pressure to marry, well-meaning / interfering family and friends, the differences between the generations - and a lovely performance from Setsuko Hara to boot. (BFI player)

Another tip-top month for films!

My #Top5FirstViews for Feb:

PETITE MAMAN (Celine Sciamma, 2021);

WHEN A WOMAN ASCENDS THE STAIRS (Mikio Naruse, 1960);

PARALLEL MOTHERS (Pedro Almodovar, 2021);

LATE AUTUMN (Yasujiro Ozu, 1960);

THE HEIRESSES (Marta Meszaros, 1980). #films

Also stellar on the rewatching front.

My #Top5Rewatches in Feb:

LATE SPRING (Yasujiro Ozu, 1949);

THE FLAVOUR OF GREEN TEA OVER RICE (Ozu, 1952);

EARLY SUMMER (Ozu, 1951);

PERSONAL SHOPPER (Oliver Assayas, 2016);

SUMMER 1993 (Carla Simon, 2017). #films

First up for March: LAMB (Valdimar Johannsson, 2021). I was totally going with this until the last 10 mins…FFS! (Mubi)

THE SERVANT (Joseph Losey, 1963), back on the good stuff with this. Part social satire, part psychological horror, with the tremendous Dirk Bogarde to boot. Superb!

BAD LUCK BANGING OR LOONY PORN (Radu Jude, 2021). Bit of a mixed bag, this - but I like the director’s chutzpah and inventiveness, even when it doesn’t quite come off. Worth it for the final 30 mins alone! (Curzon Home Cinema)

MISTER JOHN (Christine Malloy, Joe Lawlor, 2013). An intriguing, enigmatic drama of a man grappling with his own sense of identity in the wake of his crumbling marriage and brother’s mysterious death. Not entirely satisfying perhaps, but a subtle performance from Aidan Gillen.

HIVE (Blerta Basholli, 2021). A compelling, low-key drama about a woman, possibly widowed, trying to carve out a living for herself in the wake of the Kosovo War. Disapproval is everywhere, especially from the men. Winner of an audience award at Sundance - streaming in the #GFF.

MICROHABIT (Jeon Go-woon, 2017). I liked this vignette-style film quite a lot, especially the central character - a whisky-loving young woman who sofa surfs to get by. Some interesting insights into South Korean society here. (Mubi)

ILO ILO (Anthony Chen, 2013), a really well-observed film based on the director’s childhood experiences being cared for by a maid from the Philippines. Low-key/understated is very much the vibe here, beautifully done. (Mubi)

ZALAVA (Arsalan Amiri, 2021). Thoroughly enjoyed this Iranian horror/drama about demonic possessions and the dangers of mass hysteria. (Streaming as part of the Glasgow Film Festival) #GFF22

LA CIVIL (Teodora Mihai, 2021). Probably the best of my #GFF22 streaming choices. A mother searches for her daughter following a kidnapping by a Mexican cartel. Gritty, understated and unflinching, this compelling film is anchored by a remarkable central performance.

HER WAY (Cécile Ducrocq, 2021). Laure Calamy (of Call My Agent! fame) is excellent in the lead role here - a sex-worker trying to earn enough money to put her wayward teenage son through catering school.
Part of the Glasgow Film Fest, worth catching when it gets a release.

THE FIRST LAP (Kim Dea-hwan, 2017). Loved this. Nothing much happens here. A young Korean couple are drifting along, trying to figure out how they feel about each another, dealing with the pressure to marry - from both sets of parents. But everything is beautifully evoked. (Mubi)

A rewatch tonight: MARTHA MARCY MAY MARLENE (Sean Durkin, 2011). Terrifying, chilling yet totally believable. Brilliantly directed and edited, blurring the margins between the two different timelines.

DON’T TALK TO STRANGE MEN (Pat Jackson, 1962). An effective little drama highlighting the 1960s equivalent of grooming. Almost a public information film in certain respects. Worth catching if it pops up on Talking Pictures again.

A DISTANT PLACE (Park Kun-Young, 2020), a tender, beautifully observed story of unconventional family relationships and the sacrifices we make. The cinematography is gorgeous. (Streaming on the #BFIPlayer as part of #BFIFlare.)

PASSPORT TO SHAME (Alvin Rakoff, 1958). Enjoyed this seedy city noir featuring the inimitable Diana Dors. A naive young woman on the run from the Paris police gets caught up in a prostitution racket.

MOVING ON (Yoon Dan-Bi, 2019). This was very poignant, a moving story of a family in flux. Fans of Kore-eda would likely enjoy this. (Part of Mubi’s South Korean series, leaving in a couple of weeks.)

DIAL M FOR MURDER (1954). Sometimes only Hitchcock will do.

A TALE OF SPRINGTIME (Eric Rohmer, 1990). The perfect choice for the beginning of spring. (Mubi)

BOILING POINT (Philip Barantini, 2021). Oh my goodness, that was intense! A true ensemble piece, but I’d love to see a spin-off drama about Carly. (Netflix)

PHANTOM THREAD (Paul Thomas Anderson, 2017). I’d forgotten quite how subversive this film is. It would make a fascinating double bill with Perter Strickland’s THE DUKE OF BURGUNDY, especially given the shifting power dynamics. (iPlayer)

THE BACCHUS LADY (E J-Yong, 2016). Youn Yuh-jung (of MINARI fame) is terrific in this. (Leaving Mubi tomorrow.)

HEART (Jeong Ga-Young, 2019), probably my least favourite of Mubi’s South Korean series, but not without its moments.

#NowWatching SABOTAGE (Alfred Hitchcock, 1936), via Talking Pictures.

DRIVE MY CAR (Ryusuke Hamaguchi, 2021). Absolutely worth the wait. A film of deep, complex emotions and the painful weight of guilt.

GOODNIGHT MOMMY (Veronika Franz, Severin Fiala, 2014), a new addition to cinema’s creepiest twins.

LOUDER THAN BOMBS (Joachim Trier, 2015). I’m beginning to think that JT might not be my director… (Mubi)

#NowWatching LINGUI, THE SACRED BONDS (Mahamet-Saleh Haroun, 2021) set in Chad. (Currently on Mubi.)

My #Top5FirstViews for March:

THE FIRST LAP (Kim Dae-hwan, 2017);

BOILING POINT (Philip Barantini, 2021);

A DISTANT PLACE (Park Kun-Young, 2020);

PASSPORT TO SHAME (Alvin Rakoff, 1958);

LA CIVIL (Teodora Mihai, 2021).

MASTER (Mariama Diallo, 2022). There’s a lot going on in this Jordan Peele-esque horror film about racism in an elite American college, but the performances are good - especially Regina King. (Amz Prime.)

CAST A DARK SHADOW (Lewis Gilbert, 1955). Dirk Bogarde is gloriously watchable in this thriller. (Talking Pictures)

A HERO (Asghar Farhadi, 2021). Another complex moral drama of honour, duty and in this instance bowing to pressure. Maybe not quite up there with this director’s best, but intricate and beautifully acted nonetheless. (Amz Prime)

Last night’s film: THE SECOND MOTHER (Anna Muylaert, 2015). Really enjoyed this one. This sharply observed Brazilian drama about family and social class uses humour to great effect. Highly recommended! (MUBI)

GREEN FOR DANGER (Sidney Gilliat, 1946). Thoroughly enjoyed this intriguing thriller based on a novel by Christianna Brand. Currently available to watch on the Talking Pictures catch-up.

LAND OF MINE (Martin Zandvliet, 2015), a very thought-provoking film about a grim, little-known aspect of WW2 - young German POWs being forced to clear land mines from the Danish coastline. Tough to watch but really well done. (MUBI)

#NowWatching THE WOMAN IN THE FIFTH (Pawel Pawlikowski, 2011), via MUBI.

THE COWARD (Satyajit Ray, 1965). Painful memories resurface in this beautiful film of squandered chances and an inability to commit. I liked this a lot! (MUBI)

RAMS (Grimur Hakonarson, 2015). It doesn’t matter how many times I watch this, I never seem to tire of it. The knitwear is immense!

ZERO FUCKS GIVEN (Emmanuel Marre, Julie Lecoustre, 2021). Adele Exarchapoulos is brilliant in this - a striking film that captures the soulless, hard-nosed world of budget airlines to perfection. It’s also a piercing portrayal of grief. (MUBI)

THE WORST PERSON IN THE WORLD (Joachim Trier, 2021). Saw this a few weeks ago but forgot to add it to this thread. I’m not quite as enthusiastic about it as most of the rest of you seem to be, but Renate Reinsve is great. I’d love to see her in something else. >

> Maybe something from a female director such as Mia Hansen-Love or Celine Sciamma.

CHESS OF THE WIND (Mohammed Reza Aslani, 1976). Thrilled to have another chance to watch this rediscovered Iranian classic, courtesy of MUBI. Gloriously melodramatic and twisted - just as enthralling second time around.

LITTLE WOMEN (Greta Gerwig, 2019). Having spent most of today fighting a losing battle with a migraine, I can confirm that this is a very fitting distraction. Beautifully constructed, acted and shot. (A rewatch via Netflix.)

#NowWatching JERICHOW (Christian Petzold, 2008). Nina Hoss in a “noir-tinged tale of lust, envy and deceit”? Yes, please. (MUBI)

WATCHTOWER (Pelin Esmer, 2012). A quietly compelling film in which two very different individuals cross paths, each try to deal with the pain of prior trauma. Tough subject matter, beautifully shot. (MUBI)

THE HOUSEMAID (Kim Ki-Young, 1960). Loved this. Gloriously dark and melodramatic. (Part of Martin Scorsese’s World Cinema Project on MUBI)

PRAYERS FOR THE STOLEN (Tatiana Huezo, 2021). I watched this at the weekend and am still thinking about it. Such a haunting, affecting film, beautifully shot. (MUBI)

WHEEL OF FORTUNE AND FANTASY (Ryusuke Hamaguchi, 2021). Really enjoyed this one - like a collection of short stories about fate, missed opportunities and chance encounters. It’s slighter than DRIVE MY CAR, but still worth watching. (MUBI)

Some recent rewatches. All excellent, especially the Malle.

My #Top5FirstViews for April:

THE HOUSEMAID (Kim Ki-Young, 1960);

THE SECOND MOTHER (Anna Muylaert, 2015);

THE COWARD (Satyajit Ray, 1965);

ZERO FUCKS GIVEN (Julie Lecoustre, Emmanuel Marre, 2021);

A HERO (Asghar Farhadi, 2021).

Favourite rewatch of the month: CHESS OF THE WIND (Mohammed Reza Aslani, 1976). Gloriously melodramatic in the best possible sense.

HAPPENING (Audrey Diwan, 2021), an excellent adaptation of Annie Ernaux’s vital, unflinching book (tr. Tanya Leslie).
Every member of the Supreme Court (and other relevant decision-makers) should be made to watch this film. #abortionrights

GREAT FREEDOM (Sebastian Meise, 2021). A really tough watch, but there are moments of real tenderness in this moving, achingly painful prison drama with a difference. Highly recommended! (MUBI)

NO TIME TO DIE (Cary Fukunaga, 2021). Recent reports about the director aside, I had a blast with this one. It’s wildly entertaining with some wonderfully camp/humorous moments. A fitting finale for Craig. (Prime)

THE QUIET GIRL (Colm Bairead, 2022). Absolutely sublime.

GWEN (William McGregor, 2018). A bit underwhelmed by this despite a couple of striking performances - particularly Maxine Peake. There’s probably a really good short film in here somewhere, but at 86 mins this feels far too long.

HOPE GAP (William Nicholson, 2019). Another mixed bag here. I love Bill Nighy and will happily watch him in anything, but the script and direction felt clunky and heavy handed. Something of a missed opportunity, I think.

L’ATALANTE (Jean Vigo, 1934). It’s been a long time since I last saw this, but how could I have forgotten about all the cats! (MUBI)

LA COLLECTIONNEUSE (Eric Rohmer, 1967). Lovely Haydee Politoff…what a trial to have to deal with all these dreadful men! (MUBI)

Also rewatched SKYFALL (Sam Mendes) at the weekend, just for a few aimless thrills and spills. I hope they keep Ben Whishaw, Ralph Fiennes and Naomie Harris in position for future Bonds. (Prime)

BURN BURN BURN (Chanya Button, 2015). Lasted about 10 mins before abandoning this as it looked like the wrong sort of kooky/quirky for me. Very much doubt I’ll go back to it unless someone on here comes out to bat! (MUBI)

BENEDICTION (Terence Davies, 2021), Jack Lowden is terrific as the young Siegfried Sassoon in this portrayal of a lifelong yearning for redemption. As ever with Davies, this feels highly personal - a remarkably moving film. #Benediction

VORTEX (Gaspar Noe, 2021). Utterly devastating, but brilliantly done. Probably the best use of a split-screen technique I’ve ever seen in a film, especially when the shots ‘mirror’ one another. (Françoise Lebrun should be up for awards for this, but as it’s in French…)

THE INNOCENTS (Eskil Vogt, 2021), this chilly supernatural horror is cruel and effective, but I wish it had come with a trigger warning for the cat lovers among us. 🙀:( (Curzon Home Cinema)

THE INVISIBLE LIFE OF EURIDICE GUSMAO (Karin Ainouz, 2019). Loved this!
A rich, novelistic story of two sisters, separated by the prejudices and constraints of a a patriarchal society. Set in Brazil in the 1950s - based on the novel by Martha Batalha. (MUBI)

RECORDER: THE MARION STOKES PROJECT (Matt Wolf, 2019). Fascinating documentary about this activist’s quest to record 30 yrs worth of TV footage, resulting in an incredible archive of American news coverage and public life. (Still on Mubi if you’re very quick!)