3 things about Alain Resnais’ MURIEL, OR THE TIME OF RETURN

Muriel, or The Time of Return [1963]

1. Magic hour: standing at the crowded bar with a coffee, chatting with the cashier, the clouds and sky in the windows behind them.
2. “It’s easier to talk outside, isn’t it?”
3. Sliding box.

Elusive. Each time I was about to identify with one of the characters, the film would do something to push me away. Haunting though.

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3 things about Boots Riley’s SORRY TO BOTHER YOU

Sorry to Bother You [2018]

1. Preoccupied by the joint she’s holding just out of reach.
2. At a gas station he walks up to the attendant and says, “40 on #2.” He plunks down a quarter, a dime, a nickel.
3. IKEA garage bedroom.

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3 things about Stephen Frears’ THE HIT

The Hit [1984]

1. A film in which we watch Fernando Rey get out of a great many cars and size up crime scenes. And that is not a bad thing.
2. His blood between her teeth.
3. “What’s your real name?”
He smiles before answering. It’s the only time we see him smile.

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3 things about Sydney Pollack’s THE YAKUZA

The Yakuza [1974]

1. A flying, severed hand still clutching a gun.
2. Rivulets of blood obscure the tattoo.
3. She instructs him how to drink the tea mindfully.

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3 things about W.S. Van Dyke’s MANHATTAN MELODRAMA

Manhattan Melodrama [1934]

1. “Jew. Protestant. Catholic. What does it matter?” Then he gets killed in an anarchist riot (!)
2. He gives the $7,500 to a waiter.
3. “Goodbye, Black Boy, don’t take any wooden porkchops.”

3 other things.

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3 things about Lori Felker’s FUTURE LANGUAGE: THE DIMENSIONS OF VON LMO

Future Language: The Dimensions of Von LMO [2018]

1. “The life of a head of lettuce is very short.”
2. A cat explores the manuscript.
3. The color green is an evil octagon.

Far out.

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3 things about Oliver Hirschbiegel’s THE INVASION

The Invasion [2007]

1. “I just took advantage of a drunk woman and I’m sorry.”
2. Within a few scenes she goes from being a terrible shot to an excellent marksman.
3. Synchronized coffee urn vomit.

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