Words on avant garde film etc @toneglow, @InRO @ultradogme https://xitter.cf/t.co/pza3vBdn0h etc. Union steward, Appalachian, historical materialist. they/them

Knoxville, TN
Joined September 2014
I wrote about the revelatory filmography of Peter Bundy, who ought to be known as one of the great American experimental filmmakers of the late 70s/early 80s Four of his films streaming on Ultra Dogme (online for the first time ever) and others this wknd at Tone Glow Film Fest
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Perfect album
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Pitchfork Sunday 10.0 when
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Alex F 🇵🇸 retweeted
Toronto only. Starting a club. First drop-in starts this Thursday. Open to all.
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Dimensional Excursions (Peter Rose) Periphery of the Base (Zhou Tao) Rib of the Greater Bay Area (Zhou Tao) Were All Going to the World’s Fair (Jane Schoenbrun) Dry Leaf (Alexander Koberidze) HMs: Caught by the Tides, Memoria, Glimpses from a Visit to Orkney, Laberint Sequences
Current Top 5 2020s: Do Not Expect too Much from the End of the World (Jude) Janet Planet (Baker) Pacifiction (Serra) Eureka (Alonzo) Happyend (Sora) HM: Blue Moon, Eephus, Red Rooms, The Killer, Return to Seoul, Failed State, Miroirs No. 3
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Alex F 🇵🇸 retweeted
Rhayne Vermette's film Levers is available to watch for free online this month on Equinox Film. It's apocalyptic, enigmatic, and feels relevant to our current times yet somehow exists outside of time. Well worth seeing. equinox.film/film/levers/
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Every year in the summer I get tired of movies and every year in September I remember that I like them, just in time for October. Send me your seasonal genre deep cuts or festival standouts that I missed
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Alex F 🇵🇸 retweeted
it's what y'all deserve
why is music journalism just instagram carousels now :(
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Like her previous film, MUSIC, Angela Schanelec’s MY WIFE CRIES leans heavily on a climactic sequence of musical performance. The difference is this time it’s the best thing in the film (or any recent film?) instead of the worst
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It is almost always a good thing when films encourage or even demand that we view and appreciate them in ways outside the normative expectations of narrative film audiences, and ditto when criticism helps us do this, and people who complain about either are losers
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the foundational texts of film theory and formal analysis (Arnheim, Balasz et al) are literally written as arguments that film is worth considering as art in the first place, and most subsequent revolutions in theory/crit are rediscoveries of same idea on new analytical planes
the history of meaningful film criticism has always been about taking films that are “not that serious” extremely seriously. so with all due respect: the least convincing argument you can make is to say “this movie is dumb why are you taking it so seriously?”
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film twit loves to talk about the Cahiers critics and classical Hollywood but this was not the first nor last instance of the cycle, and you needn’t accept auteurism vulgar or otherwise to argue for genre/b movies as great art
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people on here are saying the new Resident Evil is better than Retribution when it ain’t even 3D
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counterpoint: Resident Evil Retribution is awesome
Zach Cregger is the best thing that has ever happened to the Resident Evil franchise
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Big Brother but it’s a giallo
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everyone’s invited to my house this weekend for Cocteau Twins Karaoke
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