3 things about Ingmar Bergman’s HOUR OF THE WOLF

Hour of the Wolf [1968]

1. She insists on showing him her accounting.
2. The man walks along the floor, walks along the wall, walks along the ceiling.
3. His hand methodically gliding down her body.

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3 things about Woody Allen’s ANOTHER WOMAN

Another Woman [1988]

1. In several scenes she keeps her overcoat on even though she’s indoors. As if she knows she won’t be settling in.
2. The way Gene Hackman munches on a tiny cracker topped with cream cheese.
3. “We didn’t just drift apart, Marion. I withdrew.”

My continued devotion to this film is … complicated. But Gena Rowlands is just magnificent. That world is mesmerizing. It’s almost like a transmission from an alien civilization. 3 other things.

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3 things about Paul Verhoeven’s HOLLOW MAN

Hollow Man [2000]

1. She delicately cuts out eye-holes.
2. A brutal rape, the repercussions of which are never addressed.
3. Set on fire, electrocuted, brained with a crowbar, engulfed by an explosion—and still able to climb up an elevator shaft.

I mean, come on

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3 things about Robert Altman’s THE GINGERBREAD MAN

The Gingerbread Man [1996]

1. Cat in the bed.
2. Taped up windows everywhere in preparation for landfall.
3. From her purse, she removes the ashtray she swiped at his party and uses it in his car.

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3 things about Jules Dassin’s UPTIGHT

Uptight [1968]

1. Carnival: a fake gun and funhouse mirrors.
2. Daisy/Clarence and the “decadent oriental” interior design of his apartment.
3. The story ends with his burial.

A truly fascinating film, especially the ways in which it both has and hasn’t dated.

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3 things about Alain Resnais’ LAST YEAR AT MARIENBAD

Last Year at Marienbad [1961]

1.  Tall glass display case in the lobby.
2.  Offscreen, the balustrade crumbles.
3.  “… His gray eyes … his gray form …”

3 other things.

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3 things about Michael Radford’s NINETEEN EIGHTY-FOUR

Nineteen Eighty-Four [1984]

1. Scratching out one of the faces on the gin bottle’s label.
2. Expressionless, he replies, “They got me a long time ago.”
3. When the ultimate betrayal means saying “I love you.”

3 other things.

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Recipe: Brown Butter Cashew Cookies

BROWN BUTTER CASHEW COOKIES

1 cup (2 sticks) butter
1 1/2 cups packed brown sugar
2 teaspoons vanilla
2 eggs
3 cups all-purpose flour
2 cups unsalted cashews (or a mixture of any nuts you like)
1/2 teaspoon baking soda
1/2 teaspoon kosher salt
1 teaspoon baking spices (optional)

Combine brown sugar and vanilla in a large, heatproof bowl. In a medium bowl, combine flour, nuts, baking soda, salt, and spices.

Melt the butter over medium-low heat in a saucepan, stirring constantly, until it turns light brown, about 5-7 minutes. Pour melted butter over brown sugar and vanilla and stir until thoroughly mixed. Add eggs and stir again. Gradually add dry ingredients until you have a cohesive dough with no wet spots.

Put the dough into the freezer and preheat oven to 375 degrees (this makes the dough easier to handle). Line two cookie sheets with parchment paper. When oven is ready, drop dough by rounded tablespoons a few inches apart onto cookie sheets. Bake about 12 minutes or until golden brown; cool.

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3 things about Amy Seimetz’s SHE DIES TOMORROW

She Dies Tomorrow [2020]

1. A rather faster tempo for the Lacrimosa than I’m used to hearing.
2. They agree not to wake her up.
3. Bloody rivers.

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3 things about Seijun Suzuki’s TAKE AIM AT THE POLICE VAN

Take Aim at the Police Van [1960]

1. Burma Shave-style road signs warning of danger.
2. Group of teens hanging around the jukebox.
3. He replies that he prefers Japanese mystery novels.

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