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Objectively okay action movie but I just have to say it’s funny as fuck that Ana de Armas and Keanu Reeves were very clearly never in the same set at the same time. Not even once.

“This is my family. It is small, and broken, but it’s good. Yes, it’s good.”

Literally zero notes.

#NotMyJumba

Watched on Tuesday January 28, 2025.

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“People shouldn’t have to thank you for a humane response, that should be their expectation.”

It’s surprisingly refreshing to watch a documentary about a politician that doesn’t shy away from the ugly bits, and considering Jacinda Ardern’s bad moments are specks of dust when compared to other world leaders, it’s even more impressive that they did.

Prime Minister is an engaging and informative look into the rise and not-so-gentle fall of New Zealand’s youngest leader, showcasing her best moments (such as effectively banning automatic weapons and defending her country’s muslim community) and her worst (dealing with an unprecedented pandemic and sending the kiwi far-right into a violent frenzy).

Through it all we get glimpses into her personal life that serve to humanise her even more, and my whole theatre cooed many times whenever her adorable daughter, Neve, was onscreen.

I really enjoyed getting Jacinda’s first-hand retellings of key moments in her career and her reflections after listening back to her own sound memos over the years, and hearing her it to being sad, defeated and pissed off was a way grander “girl-boss” moment than any sanitised bullshit Disney tries to sell us as feminist.

“Optimism is true moral courage”, Jacinda quotes, and I honestly can’t think of a better and more needed conclusion than this at this point in time.

“Matte paper okay? Gloss is gauche.”

What the hell, sure.

“If you’re going to hell keep going, right?”

The perfect answer to all those who say "you can't make dark comedies anymore." James Sweeney not only gives an excellent performance as Dennis, but he also directs Dylan O'Brien in such a way that he brings out the best performance we've seen from him.

With so many stories about grief we've seen in recent years, it's magnificent to see such an original take on this subject, one that entertains, disturbs, and surprises with the crazy places it takes you.

If I could compare it to anyone, I'd say Sweeney is almost on par with Julio Torres and what he did with Problemista, although I must it I'm more of a fan of how he presents the most insane situations and still manages to make everything feel painfully real.

I'm happy that it didn't disappoint after the high expectations I had for it. If you have the chance to see it at the Sundance Festival in Mexico, don't miss it.

“If something happens to you, it happens to me.”

I have to it it took me a while to digest this film, in the way that I genuinely couldn’t tell if I had liked it or not.

The verdict: I like the idea of it more than I like the final product itself.

It isn’t news that Julia Ducournau has masterful ideas that challenge every single expectation her audience could have, and while the central AIDS-related metaphor is very plain, the execution is unlike anything you’ve ever seen before. With varying degrees of success.

Tahar Rahim and Golshifteh Farahani blow it out of the fucking park with their performances, and while young Melissa Boros does a great work in the titular role I almost wish it would have focused solely on the relationship between the siblings.

The little body horror there is is immaculate, but the root cause of it is so under-explored it leaves you wanting more and feeling some disappointment when it doesn’t end up going anywhere in particular.

All in all, a tremendous and daring effort from this young, talented and supremely unique director, one that is greatly appreciated even if it isn’t perfect in the slightest.

“Everybody goes a little loopy the first year… but you’ll come back.”

If they’re forces to be reckoned with as individuals, nothing can prepare you for the absolute powerhouse that is a collaboration between Lynne Ramsey and Jennifer Lawrence, two of our most fearless, audacious and evocative film artists.

Jennifer Lawrence strips herself raw in the role of Grace, showcasing a fierceness and vulnerability that is commendable by itself, and that becomes transcendental when paired with the ing performances of Robert Pattinson and Sissy Spaceck, and all the creative choices that make this film a masterpiece.

Die My Love doesn’t just offer an unflinchingly raw depiction of postpartum depression/psychosis, it lingers on Grace’s wounds and outbursts for long enough as they continue to increase their intensity that they force the audience to accept them. To find them as natural as any primal impulse.

For me, what makes Ms. Ramsey’s filmmaking so unique isn’t just the taboo and complex issues she chooses to depict, but the almost effortless manner in which she manages to elicit empathy from the viewer for her characters no matter how questionable their decisions get.

Even if I don’t know if she’d take this as a compliment, I have to say that Lynne Ramsey is one of if not the most important feminist director of the last decade, and given the nature of her work that is a triumph in and of itself.

“Memories are stories, so you better come up with one that you can live with.”

Kristen Stewart's THE CHRONOLOGY OF WATER is an impressively ambitious debut feature, uplifted by the performance of Imogen Poots, who clearly took many notes from her director when portraying Lidia Yuknavitch.

The blood, sweat, and tears Stewart poured into this project are felt in every one of her erratic and powerful scenes, and while she sometimes stumbles over her own frenzy to give it her all, it's something that's more appreciated than resented.

It's clear that this woman grew up with film in her veins, and this first transition from actress to director leaves me feeling very excited for her future behind the camera.

“Your being manipulated!”

EDDINGTON is Ari Aster as we've never seen him before—and I think that's a good thing. Aster had the courage to venture into almost uncharted territory by making a satire about America during and after COVID, and I think the result is phenomenal.

Joaquin Phoenix shows the full power of his talent in the role of the Sheriff, embodying all the ideals of a very particular segment of the American population and showing that sometimes stupidity is worse than evil. Or, at least, that evil derives from it.

David Ehrlich is absolutely right when he describes it a bit like "the first modern Western", with Pedro Pascal playing the hero who opposes Phoenix's villain but ends up being a worse version of John Wayne's Gregory Peck in The Man Who Shot Liberty Valance.

In conclusion: I didn't expect Ari Aster's sociopolitical satire to work so well, but I'm very happy that it proved me wrong.

“For those we’ll never meet.”

MISSION: IMPOSSIBLE: THE FINAL RECKONING is a fitting conclusion to the greatest action saga of our time.

Christopher McQuarrie and Tom Cruise take their stellar collaboration to levels previously seen as unattainable, even in a world that seems to have given us everything, and the action is complemented by a perfect dose of sentimentality that both the most ardent fans and the most casual audiences will appreciate.

It truly feels as if the last 30 years have been leading us to this conclusion, and the final 30 minutes will undoubtedly go down in history for the incredible unfolding of each character's story and the technical and artistic work required to bring them to life.

Bravo Mr. Cruise, the true President of Movies.

“This has been a very revealing birthday party.”

Director Shih-Ching Tsau and Sean Baker’s partnership gave us a truly great film as part of Cannes’s Semaine de la Critique.

Part coming-of-age, part tragicomedy, Left Handed Girl is an entertaining, funny, moving and deeply human look at what it means to be a woman in a world where we’ll never be worth as much as a man.

It is truly incredible to see the differing personalities across these three generations, and the way their relationships with each other affect them in ways we know will last.

Mothers and daughters, sisters, grandmothers and grandchildren. All of them with their own flaws and yet trying their best to be there for each other, even when some of their flaws are the result of the other’s actions.

I understand that people liked THUNDERBOLTS because it has great performances at its core and  can be entertaining, however, I can't get over the complete lack of subtlety in the themes it seeks to address.

I think the film would have been more effective without Florence Pugh and Lewis Pullman verbally explaining the "metaphors" the audience is supposed to understand with the character of The Void, an obvious and ineffective physical representation of depression.

As someone who hasn't seen the latest MCU films/series, I had a hard time connecting with the characters I assume were introduced in other projects, and although it's part of a saga, it should really stand on its own.

It seems to me like an incomplete story, which has a strong beginning and loses traction before the middle of the film because it lacks a concrete direction. And when they get to the end, they take the easiest and most incongruous way out, which is a shame because it's perhaps the only truly interesting concept that was introduced.

The post-credits scene tries to be meta and tell us that our distrust of this new era of characters is understandable but unnecessary, but I just don't buy it.

“But you do have a nervous system, and so does a computer.”

Pretty wild how “just okay” Cronenberg is still miles better than most directors’s best.

While I do believe Scanners is the weakest link in my recent DC marathon, I was still thoroughly enthralled by the concept of these humans who somehow developed telepathy, but who are doomed to live in the outskirts of society if they don’t learn how to control it. Or if they’re not controlled by someone else

As with most of his films, we can’t narrow down the entire scope of his themes to just one. Eugenics? Sure. Depression? Absolutely. Evolution? Most definitely. But even if we dived deep into each of those, we’d still be missing a large part of the conversation.

It’s crazy to me how easily Cronenberg drops us in the middle of a fucked up universe and immediately makes us accept it as truth, no one’s doing it like him.

“Free will is obviously not a big factor in this little world of ours.”

The fact that this came out during the same month as The Matrix is insane.

While the theme of virtual reality being indistinguishable from reality, be it by accident or by the design of a higher power, might seem overplayed by now it is always fascinating to see its roots - especially when so thoroughly, disgustingly and deliciously explored by a mind like Cronenberg’s.

One thing I ire of his work is how curious he seems about all sides of the issues he delves into, inviting the viewer to do the same even when he leans towards one more than the others.

Death to realism? Death to the demoness Allegra Geller and all those who dabble in the alteration of reality? We don’t really know which side is the right side, but God isn’t it fun to explore both.

“Three seconds after you’re born you have a past. Sixty seconds after you’re born you start lying to yourself about it.”

Reading that resident sicko David Cronenberg wrote this film in the middle of his divorce is the wildest shit I’ve ever heard, truly an inspiration for all the people who are scared to use their own experiences for their art.

The Brood is as sad as it is terrifying, not only because of the violence and the body horror (because we were already expecting those), but also because of the implications that it’s impossible to escape your trauma. Even worse, it might just be impossible to stop yourself from ing that trauma onto those you love.

The climax is horrifying for many reasons I will not get into so as to not spoil everything, but there is a moment between the main couple where they make Marriage Story and Kramer vs Kramer look like heartwarming love stories. I was AGHAST, BEFUDDLED even.

There are so many more layers to this film, such as the dangers of experimental therapies, the predatory tendencies of health coaches, the demonisation of female rage, etc., but I’ll finish this saying that the final scene shook me to my core. Incredible stuff.

“You’re still reaching for the moon.”
“No father, the moon’s reaching for me.”

Witty, charming, delightful. Just a few words to describe Audrey Hepburn that also apply to the wonderful film that is Sabrina.

The love triangle at the center of it all is fantastic, and I know many say that Humphrey Bogart was too old for Audrey (and he was), but I honestly don’t mind it. In this case, the bright-eyed young girl and cynical old man works for me, especially because we see how much Sabrina has changed and grown from her stay in Paris.

Audrey Hepburn is one of the most magnetic actresses to ever grace our screens, and when she sings La Vie en Rose you feel just like Linus does: enraptured, spellbound, and knowing you’ll never, ever, forget her.

“It was the first time since I kicked her to the curb that I said: you know what, I’m proud of what Q Lazzarus did, let me pick this bitch back up!”

GOODBYE HORSES: THE MANY LIVES OF Q LAZZARUS is a documentary as brilliant as the woman whose story it tells.

Diane Luckey is the most talented artist you've never heard of, although you've surely heard the iconic song that lends this film its name.

It's an injustice that the world has been deprived of Diane’s genius simply because she was so ahead of her time, and hearing everything she went through along the path she was pushed down fills you with sadness and anger for her. For what she was. For what she could have been.

Q's story is the ultimate proof that life isn't fair, but God, if anyone deserved fate to be kind, it was her.

However, fate gave us all a gift by having her path cross with that of Mexican director Eva Aridjis, who gave her the platform she deserves to capture her life, her struggle, her legacy, and who will give her the perpetual spotlight she should always have lived under.

“When a woman sends you a telegram, and says “I love you”, you go and see her.”

Say what you will about the French, but it’s impossible not to ire how they understand love through cinematic language.

Claude Lelouch’s A Man and a Woman is peak nouvelle vague, with its intermittent use of black and white, sepia and color, its montages that give us a look into the past, and the narrations that gives us insights into our characters’ minds.

The love story between Anne and Jean-Louis feels as real as only the feelings between two complex human beings can be, with both being haunted by past romances and having to deal with two very demanding and very different careers (him: a race driver, her: a filmmaker).

There are so many things to love about this film: the stolen glances, the palpable giddiness that comes with developing feelings, the patterns we all repeat even when we don’t mean to, and the crazy decisions one makes when involved in a whirlwind romance.

I don’t think I’ve ever smiled as hard as I did during the Monte Carlo Rally sequence and everything that follows, and as imperfect as the journey might be, that ending had me convince this is one of the greatest romance films of all time.

Thanks to the Cannes Film Festival for introducing me to this masterpiece, I enjoyed it immensely.

“I wonder how these pups will fare in life.”
“Hopefully better than their father.”

Finally got to rewatch this incredible film after its Cannes premiere, and I let it move me to tears once again.

Black Dog is such a special story, set in a city well on its way to becoming a ghost town, where there seem to be more more dogs than people and who have mostly integrated seamlessly to daily life.

Our protagonist, Lang, comes back to his hometown after ten years in prison, only to find that everything he knew has all but fallen to pieces, starting from the theatre he performed in and the zoo his father lives in, taking better care of the abandoned animals than of himself.

And showing comion to strays runs in the family, because Lang takes in one of the more aggressive dogs that roam the town even after it bit him multiple times, and through the bond that they form he manages to heal both internal and external wounds as he does the same for his four legged companion.

In Black Dog, we see the importance of extending a helping hand (or paw) to those who need it, of letting people in even when others have hurt you, and of mending past mistakes or letting go of old grudges before it’s too late.

A truly gorgeous film that deserves all the praise it’s gotten, and all of it set to the music of Pink Floyd.

“For a few hours, before the sun went down, we were truly free.”

Ryan Coogler's SINNERS is a folklore story made into a film, the kind a grandmother would tell her grandchildren and down through generations.

The director creates a beautiful ode to Black culture, its music, and its beliefs, but he also includes and honours other minorities who built the United States from the ground up, such as Native Americans and the Chinese.

Although vampirism is an important (and visually spectacular) element, I appreciate how he uses it mainly to depict how certain people feed on the blood of these minorities until they’re dried up, and then discard them completely when they no longer find them useful.

At the end of the day, this is how these legends and all myths emerged, by taking the horrors of everyday life and turning them into a horror story.

If you take anything away from this film, let it be how, no matter how much they try to turn us against each other, we must never forget where the true root of evil lies.

“Que fácil sería si al nacer uno pudiera identificar la diferencia entre pasión y talento. Es la misma diferencia que existe entre un hincha y un crack, entre adorar y ser adorado."

I love you movies that use sports as a backdrop slash metaphor to highlight interpersonal drama, you will always be famous.

“Without ego, I can say this is my finest sword. If you find God on your journey, you will cut God.”

And if I said the final confrontation with the Crazy 88, Gogo and O-Ren Ishii is one of the best moments in cinema history then what?

“A shot of tequila never killed anybody right?”

You heard about Hitchcock blondes now get ready for the Landon blondes.

Drop is a horror/mystery thriller that I can genuinely say surprised me at every point, and it’s one of the few films that have actually used technology in a realistic and efficient way that helped build up the tension every step of the way.

Meghann Fahy is fantastic in the leading role, with her facial expressions doing a lot of the heavy lifting to move the story along and effectively placing the audience in her shoes and making us question absolutely everything and everyone.

I have to it I did not see the big reveal coming, and that’s always big praise, especially when it’s as believable as this.

“Will you ever learn not to look back?”

God as my witness this is one of the most arrestingly beautiful films I’ve ever seen.

Jean Cocteu reinterpreted the myth of Orpheus so that only its outline remained, rather crafting an exquisitely intriguing story of a poet who fell in love with Death, and whose mistress loved him back so ardently she refused to ever take him. Even if it meant never seeing him again.

Jean Marais is the best iteration of Orpheus ever put to screen, visibly grappling with his desire to dedicate his life and subsequent death to his art and the love he has for Eurydice, a woman who’s undying devotion keeps his feet planted on the ground even when he wishes to take an Icarus-like flight.

The visual language of the film makes it feel as though you’re wafting through a fascinating dream, one that leaves you pondering on your own mortality, and what you’re willing to give up if you wish to become immortal in one way or another. Simply sublime.

“If somebody wanted me so much that he was ready to make a fool of himself, it was easy to see that he’d be good to me.”

Watching a new favourite film always elicits such a special feeling, and Crossing Delancey immediately gained a spot on my list.

I related to Izzy to an almost uncomfortable degree, and at times it felt so much as an “is this fucking play ” moment that it was comical.

Every 20 to 30-something girl should absolutely watch this film, and be as moved as I was by its realistic, hilarious and moving portrayal of relationships, friendships, familiar love, and the mortifying ordeal of finding yourself and your place in this world.

Immediate 10/10, thanks for the recommendation Carrie Coon.

“Lord save little children.”

The film that gets more terrifying with every ing year.

Extremely ahead of its time, The Night of the Hunter is a cautionary tale of all the horrors that can come to the most vulnerable of society at the hands of a single man, oftentimes abided by the “righteous” few that cannot look past the grimy facade of organised religion.

Michael Powell is one of cinema’s most chilling villains, but I find it worse to see how so many fail to see past his lies and readily put a woman and her young children in mortal danger just because he claims to be a man of God.

The sad fact is that there are much more Mr. Powells than Mrs. Coopers in this world, but nevertheless we must strive to protect our young even from those who call themselves saints.

“They’re the signs of the Zodiac. This is where I was born, my house in the heavens.”
“I’ll take the one next door, so I’ll always be near you.”

I’ll always enjoy a modern greek myth retelling, especially when it’s a story as timeless and moving as the one of Orpheus and Eurydice.

Set in Rio de Janeiro and right in the middle of Carnaval, Black Orpheus dazzles with vibrant colours and captivating dance numbers, serving as the perfect backdrop for this doomed love story that we know so well.

My favourite aspect of greek tragedies is how they are always inevitable, they were dead from the start. But even if their pain was unavoidable, so was their love, and it is such in every version of this story anyone has told.

Rachel was great, she absolutely did not deserve to have to act opposite the actual human statue that is Gal Gadot at any given point.

Or that fuckass bob.

Other than that, it was pretty decent! Colour me surprised.

“Which of the cities visited did Your Highness enjoy the most?”
“Each, in its own way, was unforgettable. It would be difficult to… Rome. By all means, Rome. I will cherish my visit here in memory as long as I live.”

A film for all those who have unexpectedly left a piece of their hearts in a foreign country, along with memories you share with someone you’ll likely never see again.

Setting aside the fact that Audrey Hepburn plays a literal princess, it is incredibly easy to relate to Ann, to a young girl who needs to take a day off from her routine in order to reset her life.

And who better to help her than journalist Joe Bradley, who might have decided to help her out for all the wrong reasons but quickly has a change of heart. Her faith in him will not be unjustified, and that’s the true fairy tale we all dream of.

“Since you couldn’t love me you should’ve let someone else try.”

Ho-ly shit. My review could honestly stop at that, because they are the words that left my mouth after that ending.

Drama extraordinaire William Wyler delivers a masterpiece of the medium in The Heiress, orchestrating unreal performances from every one of its actors to a point that feels hard to believe.

Olivia de Havilland specifically might just give one of the best performances of all time, perfectly portraying the character growth of a naive girl turned into a cynical woman who only ever wanted to be respected, if not loved.

Montgomery Clift has one of the faces of all time, and he puts it to perfectly good use in the role of Morris Townsend, a man whose beauty is so unfair it immediately makes him appear deceitful. Something both Wyler and Ralph Richardson’s Dr. Sloper exploit to immense gain.

The golden age of Hollywood at its absolute finest.

“Home is where the heart is, and my heart is with you.”

Denzel Washington and Sarita Choudhury might just be the two most attractive people to ever grace the big screen, and director Mira Nair makes the most of it in the beautiful, sensual and deep Mississippi Masala.

More than just a love story, this film showcases the troubles most minorities face no matter where they’re born, trouble that is sometimes instigated by other people of colour no matter how oppressed they might be as well.

Though the central story follows Mina and Demetrius, I found the heart of the film to be Jay and Kinnu’s subplot, especially as we see how affected they’ve been by being kicked out of their homeland due to them not being perceived as native enough due to the colour of their skin.

It’s beautiful to see how the next generation embraces not being from one single place, but rather takes the best from every city, country and culture they experience and finding happiness in people rather than in land. What a beautiful, beautiful film.

“Memories are meant to fade Lenny, they’re designed that way for a reason.”

Making a film about new year’s day of 1999 that came out in 1995 and still works perfectly in 2025 takes some serious visionaries, and what else would you call the absolute dynamic duo that were Kathryn Bigelow and James Cameron?

Strange Days is an arresting sci-fi action thriller where people can relive their memories and live through memories that are not their own, eliciting feelings that can quickly turn addictive in the wrong hands.

Watching this today, where this concept is somewhat a reality thanks to smartphones and social media, it seems as less of a dystopia than an accurate prediction.

Ralph Fiennes and Angela Basset are completely superb in this, one playing the part of a lovesick former cop trying to save his ex-girlfriend and the other his badass friend who tries to get him to understand there are bigger things to worry about in a society that has gone to shit in every way.

While the film can feel naively hopeful at times, it is also a reminder of a time when people genuinely believed things could get better, and though we won’t get a do-over as massive as Y2K anytime soon, we should still do our best to help elicit change.

“She was beaten at the end but it wasn’t a man, it wasn’t a woman. It was the sea.”

Perhaps Alfred Hitchcock’s most brilliantly crafted drama, that works so perfectly it places you squarely in the character’s shoes.

We don’t see Rebecca’s face, not for a moment, and yet she is the only thing you can think about long after that last frame fades to black.

The sound of her voice will haunt us, and we’ve never even heard it.

Hugh Grant, Colin Firth, Leo Woodall and Chiwetel Ejiofor is a truly historic run from Ms. Bridget Jones.

1. The Secret Agent
2. Sentimental Value
3. Urchin
4. Die My Love
5. The Mastermind
6. Eddington
7. Highest 2 Lowest
8. Left-Handed Girl
9. Splitsville
10. Sirât

...plus 15 more. View the full list on Letterboxd.

1. Better Man
2. Mickey 17
3. Black Bag
4. Novocaine
5. Bridget Jones: Mad About the Boy
6. The Alto Knights
7. The Monkey
8. Drop
9. Sinners
10. Goodbye Horses: The Many Lives of Q Lazzarus

...plus 1 more. View the full list on Letterboxd.

• Things to Come
• The Party
• Working Girls
• An Urban Allegory
• The Loveless
• Conclave
• Paddington in Peru
• Anora
• 28 Days Later
• Saturday Night

...plus 30 more. View the full list on Letterboxd.

1. Amadeus
2. All About Eve
3. Lawrence of Arabia
4. The Godfather
5. Moonlight
6. No Country for Old Men
7. Parasite
8. Rebecca
9. Casablanca
10. Titanic

1. The Brutalist
2. Nickel Boys
3. Anora
4. I'm Still Here
5. Conclave
6. Dune: Part Two
7. The Substance
8. A Complete Unknown
9. Wicked
10. Emilia Pérez

• New York, New York
• Society of the Snow
• Mean Girls
• The Holdovers
• Showgirls
• Fremont
• Poor Things
• The Color Purple
• Anatomy of a Fall
• Argylle

...plus 142 more. View the full list on Letterboxd.

1. GoodFellas
2. Silence
3. The Aviator
4. The Age of Innocence
5. The Irishman
6. The Departed
7. Raging Bull
8. Alice Doesn't Live Here Anymore
9. Bringing Out the Dead
10. Taxi Driver

...plus 16 more. View the full list on Letterboxd.

1. Queer
2. Bones and All
3. Call Me by Your Name
4. Challengers
5. Suspiria
6. I Am Love
7. A Bigger Splash

A definitive ranking of all the new movies I’ve seen that came out in 2023.

1. The Beast
2. Anatomy of a Fall
3. Killers of the Flower Moon
4. La Chimera
5. Priscilla
6. Oppenheimer
7. May December
8. Perfect Days
9. The Taste of Things
10. Poor Things

...plus 82 more. View the full list on Letterboxd.

1. All We Imagine as Light
2. Bird
3. Anora
4. It's Not Me
5. Seven Samurai
6. The Seed of the Sacred Fig
7. Paris, Texas
8. Beating Hearts
9. Grand Tour
10. Ernest Cole: Lost and Found

...plus 21 more. View the full list on Letterboxd.

1. The Man Who Shot Liberty Valance
2. The Gunfighter
3. My Darling Clementine
4. Red River
5. The Ox-Bow Incident
6. High Noon
7. Stagecoach
8. Django Unchained

• The Sprinkler Sprinkled
• Workers Leaving the Lumière Factory
• Joan of Arc
• A Trip to the Moon
• Alice in Wonderland
• The Infernal Cakewalk
• The Kingdom of the Fairies
• The Great Train Robbery
• The Impossible Voyage
• The Mermaid

...plus 762 more. View the full list on Letterboxd.

• The Royal Tenenbaums
• The Darjeeling Limited
• The Life Aquatic with Steve Zissou
• Rushmore
• Bottle Rocket
• Aftersun
• Fantastic Mr. Fox
• Moonrise Kingdom
• Isle of Dogs
• Hotel Chevalier

...plus 157 more. View the full list on Letterboxd.

In alphabetical order.

• 2001: A Space Odyssey
• 2046
• 20th Century Women
• 8½
• About Time
• Across the Universe
• After Hours
• The Age of Innocence
• Alice Doesn't Live Here Anymore
• All About Eve

...plus 136 more. View the full list on Letterboxd.

1. Perfect Days
2. The Beast
3. The Zone of Interest
4. Priscilla
5. Poor Things
6. All of Us Strangers
7. May December
8. The Killer
9. Maestro
10. Ferrari

...plus 5 more. View the full list on Letterboxd.

1. The Darjeeling Limited
2. The Royal Tenenbaums
3. Moonrise Kingdom
4. Asteroid City
5. Fantastic Mr. Fox
6. Rushmore
7. The Grand Budapest Hotel
8. The Wonderful Story of Henry Sugar
9. The French Dispatch
10. The Life Aquatic with Steve Zissou

...plus 2 more. View the full list on Letterboxd.

1. Dunkirk

   
   

2. Oppenheimer
3. Inception
4. Tenet
5. Memento
6. The Dark Knight
7. The Prestige
8. Following
9. The Dark Knight Rises
10. Batman Begins

...plus 2 more. View the full list on Letterboxd.

1. The Zone of Interest
2. The Power of the Dog
3. Decision to Leave
4. TÁR
5. Perfect Days

1. Magnolia
2. Phantom Thread
3. Boogie Nights
4. Punch-Drunk Love
5. The Master
6. There Will Be Blood
7. Licorice Pizza
8. Inherent Vice
9. Hard Eight

1. The Social Network
2. Gone Girl
3. The Girl with the Dragon Tattoo
4. Se7en
5. Mank
6. Fight Club
7. Panic Room
8. Zodiac
9. The Curious Case of Benjamin Button

1. Perfect Days
2. The Zone of Interest
3. Killers of the Flower Moon
4. La Chimera
5. Anatomy of a Fall
6. Asteroid City
7. May December
8. A Brighter Tomorrow
9. Trailer of a Film That Will Never Exist: Phony Wars
10. How to Have Sex

...plus 10 more. View the full list on Letterboxd.

• Get Out
• The Thing
• It Follows
• The Blair Witch Project
• Saw
• Green Room
• Funny Games
• The Lost Boys
• Revenge
• The Hunger

...plus 3 more. View the full list on Letterboxd.

1. Aftersun
2. The Banshees of Inisherin
3. Decision to Leave
4. BARDO, False Chronicle of a Handful of Truths
5. TÁR
6. Bones and All
7. Triangle of Sadness
8. The Quiet Girl
9. After Yang
10. Women Talking

...plus 58 more. View the full list on Letterboxd.

1. The Banshees of Inisherin
2. TÁR
3. Triangle of Sadness
4. Women Talking
5. Everything Everywhere All at Once
6. Avatar: The Way of Water
7. All Quiet on the Western Front
8. Elvis
9. Top Gun: Maverick
10. The Fabelmans

• Crash
• Belle de Jour
• The Duke of Burgundy
• The Handmaiden
• Theorem
• Tie Me Up! Tie Me Down!
• Bound
• Eyes Wide Shut
• Lost Highway
• My Night at Maud's

...plus 34 more. View the full list on Letterboxd.

• Harry Potter 20th Anniversary: Return to Hogwarts
• High School Musical 2
• Harry Potter and the Deathly Hallows: Part 1
• Velvet Goldmine
• My Beautiful Laundrette
• Edward II
• Beau Travail
• Benjamin
• Women on the Verge of a Nervous Breakdown
• Law of Desire

...plus 134 more. View the full list on Letterboxd.

1. Certified Copy
2. Phantom Thread
3. In the Mood for Love
4. Mulholland Drive
5. Roma
6. A Separation
7. The Act of Killing
8. The Social Network
9. Yi Yi
10. The White Ribbon

...plus 10 more. View the full list on Letterboxd.

• The Exterminating Angel
• GoodFellas
• Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
• Beau Travail
• Grand Illusion
• Certified Copy
• 8½
• Le Bonheur
• Phantom Thread
• A Woman Under the Influence

• Citizen Kane
• The Red Shoes
• The Young and the Damned
• Tokyo Story
• La Dolce Vita
• Cléo from 5 to 7
• Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
• Daisies
• News from Home
• Amadeus

...plus 14 more. View the full list on Letterboxd.

1. Aftersun
2. Decision to Leave
3. TÁR
4. Triangle of Sadness
5. White Noise
6. All the Beauty and the Bloodshed
7. Women Talking
8. Till
9. Corsage
10. No Bears

• Moonlight
• Certified Copy
• The Handmaiden
• Laurence Anyways
• And Then We Danced
• Phantom Thread
• Roma
• Portrait of a Lady on Fire
• The Social Network
• Pain and Glory

“All memories are traces of tears.”

1. Happy Together
2. Fallen Angels
3. 2046
4. Chungking Express
5. In the Mood for Love
6. Days of Being Wild
7. As Tears Go By

• Cléo from 5 to 7
• Ran
• 8½
• A Woman Under the Influence
• News from Home
• The Red Shoes
• Pather Panchali
• GoodFellas
• Wild Strawberries
• Lost Highway

1. Broker
2. Triangle of Sadness
3. Elvis
4. Crimes of the Future
5. Showing Up
6. Masquerade
7. Holy Spider
8. Mediterranean Fever
9. Stars at Noon

1. Oslo, August 31st
2. The Worst Person in the World
3. Reprise

1. Black Mirror: Shut Up and Dance
2. Black Mirror: San Junipero
3. Black Mirror: Nosedive
4. Black Mirror: USS Callister
5. Black Mirror: Hang the DJ
6. Black Mirror: Fifteen Million Merits

1. Marie Antoinette
2. Lost in Translation
3. The Virgin Suicides
4. On the Rocks
5. The Beguiled
6. The Bling Ring
7. Somewhere

• The Nice Guys
• And Then We Danced
• Matthias & Maxime
• Across the Universe
• About Time
• Almost Famous
• Juno
• Paterson
• Pride & Prejudice
• The Princess Bride

...plus 10 more. View the full list on Letterboxd.

1. The Power of the Dog
2. Spencer
3. Titane
4. Drive My Car
5. The Worst Person in the World
6. Licorice Pizza
7. Pig
8. C'mon C'mon
9. Petite Maman
10. Mass

...plus 39 more. View the full list on Letterboxd.

1. Matthias & Maxime
2. Laurence Anyways
3. Mommy
4. I Killed My Mother
5. It's Only the End of the World
6. The Death & Life of John F. Donovan
7. Tom at the Farm
8. Heartbeats

All the movies I’ve watched in 2021, in chronological order.

• It's a Wonderful Life
• Heartbeats
• Happy Death Day 2U
• Promising Young Woman
• Harry Potter and the Goblet of Fire
• I Killed My Mother
• The Young Girls of Rochefort
• Blue Velvet
• Nomadland
• Possessor

...plus 188 more. View the full list on Letterboxd.

• 2001: A Space Odyssey
• 2046
• 20th Century Women
• 8½
• About Time
• Across the Universe
• The Age of Innocence
• Alice Doesn't Live Here Anymore
• All About My Mother
• Almost Famous

...plus 124 more. View the full list on Letterboxd.

• And Then We Danced
• Before Sunset
• Beginners
• The Big Sick
• Brief Encounter
• Bright Star
• Casablanca
• Chungking Express
• Dirty Dancing
• Dogfight

...plus 27 more. View the full list on Letterboxd.

Movies that are about nothing, while simultaneously being about everything.

• Paterson
• Beginners
• Columbus
• The Long Day Closes
• Pain and Glory
• Before Sunrise
• First Cow
• It Must Be Heaven
• s Ha
• Three Colours: Blue

...plus 11 more. View the full list on Letterboxd.

1. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
2. Eyes Wide Shut
3. Barry Lyndon
4. 2001: A Space Odyssey
5. The Shining
6. Paths of Glory
7. Full Metal Jacket
8. Spartacus
9. The Killing
10. A Clockwork Orange

...plus 2 more. View the full list on Letterboxd.

1. Death Proof
2. Inglourious Basterds
3. Jackie Brown
4. Kill Bill: Vol. 1
5. Reservoir Dogs
6. Kill Bill: Vol. 2
7. Once Upon a Time... in Hollywood
8. Pulp Fiction
9. Django Unchained
10. The Hateful Eight

• Vice
• The Mauritanian
• American Sniper

• The Handmaiden
• Lady Vengeance
• Stoker
• Oldboy
• Sympathy for Mr. Vengeance

1. Parasite
2. The Irishman
3. Marriage Story
4. Little Women
5. Once Upon a Time... in Hollywood
6. Jojo Rabbit
7. 1917
8. Ford v Ferrari
9. Joker

1. s Ha
2. Marriage Story
3. Mistress America
4. The Squid and the Whale
5. The Meyerowitz Stories (New and Selected)