Bernardo Bertolucci, Rainer Werner Fassbinder, David Lynch & More: My Films of the Week #28

As a lifelong cinephile, I have always consumed a copious amount of films. In this new feature, I keep track of the films I watch during the week. (Also, Click here to buy my book of thoughts on film, Eye of the Beholder, on Amazon!)


The Passionate Friends
dir. David Lean
1949, UK ⭐⭐⭐

Another tale of extramarital romance from David Lean shot with grandeur and partly set against the exotic backdrop of the Swiss Alps. In the same vein as Brief Encounter, though not as memorable or as good.


The Dreamers
dir. Bernardo Bertolucci
2003, France/Italy/UK ⭐⭐⭐⭐

A trendy tale of cinephilia and sexual awakening. Arguably the last great Bernardo Bertolucci film and last hurrah for many of his familiar elements and tropes.


How to Kill a Cloud
dir. Tuija Halttunen
2021, Finland

This film has yet to premiere at CPH:DOX at the time of writing, so I will hold off writing about it out of respect for its producers.


Inland Empire
dir. David Lynch
2006, Poland/USA/France⭐⭐⭐⭐⭐

From Letterboxd: “Cinephile! I waited so long to watch this film because it was the last of the Lynchian works I had yet to experience. I’m happy to say that I was not disappointed. I loved every moment of its three-hour duration. I loved its visual style, the creative use of digital cameras. I also loved the way it was constructed. It’s the type of film I could talk about for hours. To me, it’s at once carefully constructed, while also maintaining a feeling of spontaneity, that spark of in-the-moment creativity. I could go on and on. One point I wanted to make was this. It surprises me that so many people seem to find Lynch films confusing. To me, there’s nothing confusing about the stories of his films. They are rather simple. In fact, it is the way they are brought to the screen that makes them so stimulating and fascinating. At times downright visceral.”


Return to Glennascaul: A Story That Is Told in Dublin
dir. Hilton Edwards
1953, Ireland ⭐⭐⭐

Orson Welles absent-mindedly starred in this rare Irish short film about a haunted house. Unambitious in narrative but charmingly ambitious in style.


Freaky Friday
dir. Mark Waters
2003, USA ⭐

The usual body-swap feature. But possibly even more annoying.


Ali: Fear Eats the Soul
dir. Rainer Werner Fassbinder
1974, Germany ⭐⭐⭐⭐⭐

One of Rainer Werner Fassbinder’s most celebrated and accessible works. Tender but not obvious, inspired by those American melodramas the German filmmaker loved. A quintessential movie about two broken souls on the margins of society coming together and finding strength in each other, exploring social stigma in a fresh and modern way.

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