This month has been crazy! I could go into it, but to summarize, I have not had a lot of time to relax recently. However, when I do have time, I watch a lot of films. Film as a medium interests me, and especially with some recent conversations with friends, it’s something I’m looking to venture more into. To me, any artist who respects the craft is well studied so that's been a point of emphasis for me recently. I have come across some incredible films recently, and I wanted to write about a few of them. Here are my recommendations for some inspiration this week!

I hope you enjoy it and maybe even give one of these a watch.

In the Mood for Love by Wong Kar-wai

For a movie title that evokes what you would imagine is a whirlwind romance, this movie took me so off guard. A film full of brilliant creative choices, In the Mood for Love feels so counter to the harsh grit and coldness of Fallen Angels. Full of deep reds, yearning, and the most gorgeously framed shots, this film finds its solace in the somber and quiet moments of two people trying desperately to be better than those who have hurt them. I loved both lead performances and found the decision not to show the titular partners at any point interesting. I spoke on it earlier, but this is textbook filmmaking. In every way, I feel this sets the standards for how a movie can and should look. The physical and metaphorical distance showcased through the blocking and camera work was especially well handled. I couldn't recommend this movie more if you’ve got a moment and you can appreciate a meditation on what it means to love. Shoutout to (a.t.c) for recommending this one.

The Lighthouse by Robert Eggers

The Lighthouse is a film with a reputation, which is why it’s taken me so long to watch this. I loved Eggers' other work, with Nosferatu and the Witch being crowning achievements of the last 10 years. Especially with my other recent watch with Pattinson (we’ll get to that in a second), it was time for me to finally watch this. This has taken the top spot as my favorite Eggers film. I loved it just as much as I thought I would. I could write a long essay on this one but to keep it brief at the moment, this movie is a masterclass in acting, tension, use of Lovecraftian horror and atmosphere. Other than La Haine directed by Mathieu Kassovitz, this is my favorite use of black and white in a film. The incredible cinematography paired with the aspect ratio allows the screen to feel endless in a way that only enhances the dread. This became one of my favorite films ever incredibly quickly, and I can’t wait to dissect it for years to come. 

Collateral by Michael Mann

Collateral is a film I expected to like and was still pleasantly surprised by. The sleek look of this film helps a ton, while Cruise and Foxx are both turning in great performances. Mann is one of the best at making a crowd-pleaser with some real substance and style to it, and this film is no different. I always appreciate a movie that happens in one night that can actually handle that storytelling device well, and this movie does so excellently. The increasing stakes building through the dialogue between the two titular characters creates a film as interested in dissecting its characters as it is big setpieces and shootouts. I don’t think this quite reaches the highs as Heat or the previous films mentioned, but the scene in the Jazz Club is one of Mann’s best. I would heavily recommend throwing this on if you’re looking to get into Mann’s stuff, but the aforementioned Heat is still my favorite to this point.

Mickey 17 by Bong Joon Ho

Mickey 17 is a film I caught at the Enzian Theater on a date with my girlfriend, and while it was a bit of a mixed bag I walked out of the theater loving it. Make no mistake, this is a movie built off the back of an incredible Robert Pattinson performance. Bong is an incredible director in his own regard and clearly had a specific vision with this film, but Pattinson’s Mickey 17 and 18 are really what made this movie work for me. The balance between the zany and off-the-wall tone and the satirical political humor would not have worked without his ability to straddle that line effortlessly. Equally impressive in the sheer gravity of her performance, Naomi Ackie really shocked me with how good she was here. I liked her work in Blink Twice by Zoe Kravitz quite a bit, but this movie’s central core wouldn’t work without delivering an incredible performance as the love interest in the film. Not only do they have incredible chemistry on screen, Bong allowed the tenderness of this insane situation to seep through the cracks of this script. The level of humanity her character shows works in perfect contrast to the elevated nature of the rest of the movie. I think this film is trying to juggle a bit too many things, but the pieces in play here are so good that even as a bit of a mess, it's one I will happily love.