10 Things I liked in 2022
I know it’s a bit late for a list of things I liked in 2022, but here at the Gutter we do what we want. And like Angela Englert and Sachin Hingoo, I am taking care of some end of year business. Besides, what if you discover something you like in December? And I did. This year I already wrote in depth about a bunch … Continue reading 10 Things I liked in 2022
Back To The Wharf (China, 2020)
Back To The Wharf is one of a wave of Chinese crime dramas in recent years. These films make up for the bloated, big budget, nationalistic battlefield epics China had been exporting, at least for me. Some of these movies are straight neo-noirs like Diao Yinan’s Black Coal, Thin Ice (2014) and The Wild Goose Lake (2019) or Wen Shipei’s Are You Lonesome Tonight? (2021). … Continue reading Back To The Wharf (China, 2020)
Unabsolved Transgressions, Surrealism, and a Chorus of Furies: A Wounded Fawn (2022)
Travis Stevens’A Wounded Fawn (USA, 2022) is entirely my thing. It’s a nice mix of art house and genre, which is one of my favorite things. It blends fine art—in this case the art of Surrealists (and friends) Leonora Carrington, Remedios Varo and Kati Horna—1970s horror/giallo, Classical Greek tragedy, themes involving snakes and dogs, glorious art and costuming design, saturated colors, and excellent cinematography. It … Continue reading Unabsolved Transgressions, Surrealism, and a Chorus of Furies: A Wounded Fawn (2022)
The Feminine Critique’s Stocking Stuffers!
Hey, I’m back on the Feminine Critique! Emily Intravia invited me on to a special Stocking Stuffers episode where she invites special guests to talk about a Christmas movie. I’ve been invited before to do a Stocking Stuffer and talk about grudges, Werner Herzog and Christmas in the Smokies (2015). This time we discuss Angry Scottish Santa, a breakdancing elf, goats, how this movie was … Continue reading The Feminine Critique’s Stocking Stuffers!
A Wounded Fawn (USA, 2022)
Travis Stevens’ A Wounded Fawn (USA, 2022) is entirely my thing. It’s a nice mix of art house and genre, which is one of my favorite things. It blends fine art—in this case the art of Surrealists (and friends) Leonora Carrington, Remedios Varo and Kati Horna—1970s horror/giallo, Classical Greek tragedy, themes involving snakes and dogs, glorious art and costuming design, saturated colors, and excellent cinematography. … Continue reading A Wounded Fawn (USA, 2022)
Monstrous Industry 