“It’s always difficult coming back to England[…]”. Patrick Keiller’s peripatetic essay films remind me of the best of David Foster Wallace’s creative non-fiction (his visits to the State Fair, the pornography convention, and the cruise) in their style and digressive nature.

A sensitive and joyously optimistic documentary about living with a condition in an industry that punishes things it sees as disabilities.

If you were scheduling an eco-”terrorism” double-bill of NIGHT MOVES with HOW TO BLOW UP A PIPELINE, you’d have to screen NIGHT MOVES first so that its languid pace wasn’t a comedown after the extreme tension of PIPELINE.

Vividly rendered but too brief for its delicious tension.

Joanna Hogg has a tremendous skill for representing the self-inflicted emotional agonies of the English upper-middle class that others may find self-indulgent but that I find quietly horrifying.

“It seemed there was no longer anything a Conservative government could do to cause it to be voted out of office.

Charming and atmospheric local horror.

David Fincher gets a lot better and a lot more subtle at hiding his disdain for his films’ ‘airport bestseller’ source material.

In Paul T. Goldman, director Jason Woliner unravels the life and works of Paul Finkelman, a delusional but affable man whose experiences of life revolve outwards into bizarre and fantastical pastiches of crime dramas and blockbuster action films.

Visually stunning and manages to step up the formal experimentation in cinematic animation that made INTO THE SPIDER-VERSE so outstanding. Miles (Shameik Moore) has a strong arc that does more than recapitulate the first film.