I have almost 300 articles about films posted on Medium. In order to make it easier for you to find what interests you I have grouped them into categories with hot links.


Tsai Ming-liang films can be difficult to watch. The slow pacing is sometimes challenging, the randomness as well, and his films can also burst into violence in ways that leave you shaken. I found the Wayward Cloud very disturbing for this reason. It was a funny and absurd film with a dark undertow, but the sudden eruptions of violence and /or painful imagery were very unsettling.

Tsai Ming-liang made The Wayward Cloud in 2005. He made Dong (The Hole) 7 years earlier in 1998. Only having seen a few of Tsai Ming-liang’s films it seems as though they are getting…


I’d guess that about one-quarter of the Privarzaniyat Balon was lost on me but the three-fourths that I understood were wonderful. Had I known more about Bulgarian history and culture I surely would have gotten more out of the film, but there is plenty to write about the parts I did get.

Privarzaniyat Balon was made in 1967 by the Bulgarian director Binka Zhelyazkova. When it was released it was almost immediately banned by the communist government. Even though the film is allegorical It is overtly political. It lampoons power, ambition, government, religion, and humanity in general. …


When trafficking in the unpredictable world of obscure, low-budget, trash, one slogs through the muck in hopes of finding a film like The Wizard’s Curse. The movie is a category 3 fantasy thriller from Thailand via Hong Kong. The category system is south Asia’s rating system, and category three is the most permissive. It is not equivalent to x it’s more like a hard R.

The film is just one in a large, formulaic genre of black magic meets kung fu meets Taoism films. As a whole, the genre has very few redeeming qualities but if paced briskly such a…


The first half of Anguish is excellent. It’s a fast-paced, disorienting, psychedelic, and stomach-churning horror film with some wonderfully clever conceits. Like Michael Powell’s Peeping Tom, Bigas Luna‘s Anguish has a lot to say about voyeurism, objectification, violence, and the medium of film in general.

Anguish was made in 1987, a time when the art world was working through post-modernism. In line with post-modern ideas, Anguish presents material as a series of references or as inside quotation marks to offset the material’s direct meaning and suspend it as a signifier. A prime example of this would be released a few…


Having just barely made it out the other side I don’t know what to think of Andrzej Żuławski’s Possession. It was a pretty unpleasant experience. It’s an intense and feverish film that feels like equal parts Cronenberg and Polanski. There is the body horror and creepy sexual undercurrents of Cronenberg and the alienation and spiraling madness of Polanski.

The dialogue was bad, at least I think it was bad unless there was some purposeful artificiality going on. The whole film has a weird dissociative tone where no one seems to be genuine. Either Żuławski purposefully removes realism and replaces it…


Munyurangabo is a powerful and intense film. The film has nothing but the bare essentials necessary. Its minimalism throws everything into stark relief. The ingredients are two teenage boys, dirt, sky, and a family. There is nothing to hang on to, nothing to cushion you from the drama, just a set of characters dealing with their decisions and each other.

The way the characters talk emphasizes this paucity. None of them speak unless they have something to say and when they say it they relay it in the most direct and blunt way possible. If someone is offended, they say…


Seven years before Bong Joon-ho made Parasite, Dutch director Alex van Warmerdam released his film Borgman. The two films have superficial as well as substantive similarities in both style and content. Both films take place in an austere and affluent suburban home, where a family is methodically manipulated and rearranged to suit a group of outsiders. Both films share a dark sense of humor that causes the viewer to laugh at grim or violent events. Both films use class as a driving force to fuel conflict and underscore economic disparity.

Where they differ most is in the use of the…


Zapatlela is a Bollywood, romcom, musical, horror, comedy. The main character is named Laksha. Picture Jerry Lewis as a lovable (not actually lovable but intended to be lovable) goofball/village-idiot, ventriloquist with a giant Elvis pompadour, and a pair of bright yellow suspenders that he wears with every outfit. Laksha is in love with a young lady named Avade, but surprise, she has been promised, via an arranged marriage, to the town constable who she despises. Avade is in love with Laksha and they express their feelings in a colorful musical number featuring the two of them and Ardhavatrao, Laksha’s puppet…


A few months ago I wrote about my travels deep into the rabbit hole of Darna, the Philippine version of Wonder Woman. Now I have stumbled upon a Turkish rabbit hole in the form of Tarkan. He, like Darna, is a superhero but he is more along the lines of Tarzan or Conan.

Tarkan was a popular Turkish comic strip in the 1960s that appeared in the daily Hürriyet. Popular enough to spawn 8 successful live-action films about Tarkan’s historic exploits. Each film used a real civilization from history as a backdrop for his adventures.

According to Tarkan lore, he…

Filmofile

I have an MFA in painting and I’m an art professor but I managed to convince my school to let me teach film. https://twitter.com/Filmofile1

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