Film Journal: March 2020

First Cow

I used to post monthly reports collecting thoughts (no matter how succinct) about every film I watched. While I still write individual reviews (which can be found on Letterboxd), I thought I’d start doing a monthly summation here as well—at least as long as the COVID-19 pandemic continues and I have time to watch close to twice as much stuff as usual.

Four of the first ten titles here were viewed for Chlotrudis Awards (where I managed to see all but four of the nominated films.) The keeper in this bunch was The Art of Self-Defense, a love-it-or-hate-it indie whose dry, bordering on absurd humor was right up my alley (see also Lemon.) Thankfully, First Cow was one of the last movies I got to see in a theatre before the mass shutdowns (snuck in to the second-to-last screening—full disclosure, I work at an indie cinema); more than a month on, I’m so grateful for this, as Kelly Reichardt’s latest might be her best: applying considerably high narrative/emotional stakes to such richly detailed “slow” filmmaking, it’s also a fine portrait of friendship between two men (a concept still very much a rarity in 2020.)

Most of what follows was viewed on The Criterion Channel, Hulu and Amazon Prime, though not everything—most notably, The Green Fog, which is streaming for free on Vimeo and essential for fans of Guy Maddin and Vertigo (a guaranteed crossover?). Criterion, in particular is an invaluable resource for filling in the cracks in my extensive moviegoing, from Malle’s wistful but never foolish depiction of an anachronism in a changing world to the delightfully anarchic but compulsively watchable Daisies. Also revisited The Swimmer, which I absolutely hated sixteen years ago. Now, in my mid-40s and having consumed seven seasons of Mad Men, I sort of get it, admiring its innate weirdness rather than being repulsed by it.

Also nice to finally see a proper presentation of Teorema (first viewing long ago was a poorly dubbed 16mm print-to-VHS), A Place In The Sun (on my watchlist forever, and maybe my favorite Clift performance, if not the best film he was ever in), first features from the directors of Toni Erdmann and It Follows, and most of all, Glitterbug, a montage of Jarman’s Super 8 work I’ve owned for over a decade (as part of the Glitterbox set) but never got around to seeing until now. Thank you, pandemic?

Films viewed in March in chronological order, with director, year of release and my rating (out of 10.) *Denotes I’ve seen this title before.

Emma. (Autumn de Wilde, 2020) 6
Auggie (Matt Kane, 2019) 3
Wendy (Benh Zeitlin, 2020) 4
The Art of Self-Defense (Riley Stearns, 2019) 8
Horse Girl (Jeff Baena, 2020) 5
A Moment In Love (Shirley Jackson, 1956) 7
The Times of Bill Cunningham (Mark Bozek, 2018) 5
First Cow (Kelly Reichardt, 2019) 9
Little Woods (Nia DaCosta, 2018) 7
Rafiki (Wanuri Kahiu, 2018) 6
Atlantic City (Louis Malle, 1980) 8
Teorema (Pier Paolo Pasolini, 1968)* 8
The Myth of the American Sleepover (David Robert Mitchell, 2010) 7
Le Bonheur (Agnes Varda, 1965) 8
Bullfight (Jackson, 1955) 6
The Green Fog (Evan Johnson, Galen Johnson, Guy Maddin, 2017) 8
The Swimmer (Frank Perry, 1968)* 7
Cold Case Hammerskjold (Mads Brugger, 2019) 7
Ad Astra (James Gray, 2019) 6
The Forest For The Trees (Maren Ade, 2003) 8
The Falling (Carol Morley, 2014) 6
A Place In The Sun (George Stevens, 1951) 8
The Skeleton Twins (Craig Johnson, 2014)* 7
Daisies (Vera Chytilova, 1966) 9
Bisbee ’17 (Robert Greene, 2018) 8
Glitterbug (Derek Jarman, 1994) 9

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