The last ten films I’ve watched boast various highlights – Takashi Shimura’s warm, paternal energy (Points and Lines), Marina Malfatti’s plunging necklines (The Night Evelyn Came Out of the Grave), Amanda Donohoe’s long, lean torso (The Lair of the White Worm), the Black Hand’s pack of super-powered, little people henchmen (The Champions of Justice). Still, the biggest surprise of the bunch was discovering that the Scottish archaeologist Angus Flint of The Lair of the White Worm is none other than the constantly irritated, often sweary, and so very young Peter Capaldi!
- Points and Lines (Tsuneo Kobayashi, 1958)
- I Remember You (Ali Khamvaev, 1985)
- The Night Evelyn Came Out of the Grave (Emilio Miraglia, 1971)
- The Lair of the White Worm (Ken Russell, 1988)
- Medium Cool (Haskell Wexler, 1969)
- Sausage Party (Conrad Vernon & Greg Tiernan, 2016)
- The Champions of Justice (Federico Curiel, 1971)
- Thirty Two Short Films About Glenn Gould (François Girard, 1993)
- The Autopsy of Jane Doe (André Øvredal, 2016)
- Aquarius (Kleber Mendonça Filho, 2016)
While I enjoyed most of the films listed here, I felt particularly conflicted with Aquarius and The Autopsy of Jane Doe. While Aquarius features a wonderful performance by Sônia Braga, I thought her character was willfully blind to real issues connected to her “dog-in-a-manger” position on her apartment and the film’s Erin Brockovich-like ending was a clever bow tied up over a lot of undeveloped conflicts. The Autopsy of Jane Doe is an amazing concept with a very solid first act that is gradually allowed to deflate into nothing by the film’s conclusion. I could actually see myself watching Autopsy again in the vain hope that it will manage to suddenly live up to its splendid premise and will have somehow remedied its failure in my time away from it. Both films have great things going on in them, but nevertheless left me frustrated.