live in cinema


Well, I was at Cannes this year. it was pretty awesome. I saw a lot of people (Elle Fanning, Fan Bingbing, Emma Suarez, Mathieu Amalric, Naomi Kawase, Philippe Garrel, Bong Joon-ho, Kim Min-hee, Michel Franci…), I met a lot of cool people as well. I lived some cool shit, like you know, the Okja screening heh, and other funny stuff. Great experience, also very tiresome sometimes. It was cool being around all those people who live only for cinema, and also around those people who live for some kind of fame, whatever. You can learn from both. I learnt a lot. . I saw the weird side of this little universe, and it always feel like a distant dream.

Here’s my top 10 through the different competitions and stuff:

  1. You Were Never Really Here (Lynne Ramsay)
  2. The Day After (Hong Sang-soo)
  3. Hikari (Naomi Kawase)
  4. Loveless (Andrei Zvyaginstev)
  5. Okja (Bong Joon-ho)
  6. Before We Vanish (Kiyoshi Kurosawa)
  7. Wind River (Taylor Sheridan)
  8. Good Time (Safdie Bros)
  9. L’Amant double (François Ozon)
  10. A Gentle Creature (Sergei Loznitsa)

“Through contemporary eyes, the static shots and urban milieus of Black Girl seem to solidify Sembène’s filmmaking as an aesthetic neighbor to the emotionally-walloping neorealism of the Italian De Sica. Black Girl may not evoke the immediate adoration of something as universally beloved as De Sica’s Bicycle Thieves, although the latter film’s deft interweaving of personal-is-political social commentary with the rueful, everyday messiness of the lives of the marginalized working class began a storytelling tradition that is gloriously carried on by Sembène. Black Girl has all the skillful stylistic simplicity of your typical piece of neorealism but also packs a sharper bite and it’s electrifying to watch Sembène craft a twisty drama with the piano-chord tautness of a thriller that is nonetheless coated in such a rare and wryly intimate form of humanity.”


Autumn ride together 🍂 Where are they going? 🍁


“Peck’s film doesn’t waste time recapitulating Baldwin’s legacy and refuses to turn him into the marble statue that so many heroes become when centralised in fawning nonfiction movies. Instead, Peck and Strauss, through fluid, train-of-thought edits, reawaken Baldwin’s entire mindscape, one brimming with ideas and obliquely attuned to a present that is both changed from and familiar to the past. Wherever his brain wanders, our attention invariably follows. Indeed, I Am Not Your Negro excels precisely because it values Baldwin’s genius above all else. His aching, hard-earned wisdom has wavered in and out of the American consciousness in the decades since his death, but Peck’s film places it at the forefront, which is where it has always and unquestionably belonged.” — Matthew Eng

Read more: James Baldwin reclaims the spotlight in Raoul Peck’s magnificent film essay, I Am Not Your Negro