These last ten films I’ve watched are dominated by the news that a number of Hong Kong classics will soon be leaving Midnight Pulp. High marks to Royal Warriors which was loaded with amazing action sequences and showed that Michelle Yeoh can kick ass dressed in comfy sweaters or as a Rhythm Nation-Road Warrior. Julien Duvivier’s Panique once again confirmed that he is undervalued as a filmmaker, Tora-san’s Sunrise and Sunset was yet another high point in the series, Aleksy German’s Khrustalyov, My Car! seemed to merge the best of Andrei Tarkovsky and Terry Gilliam, and my revisiting of Howl’s Moving Castle only enhanced my view that the shadow of Spirited Away unfairly diminishes this gorgeous, unconventional work on anime.
- Life is a Miracle (Emir Kusturica, 2004)
- It Feels So Good (Haruhiko Arai, 2019)
- Dreadnaught (Yuen Woo-ping, 1981)
- Howl’s Moving Castle (Hayao Miyazaki, 2004)
- Royal Warriors (David Chung, 1986)
- The Prodigal Son (Sammo Hung, 1981)
- Khrustalyov, My Car! (Aleksy German, 1998)
- Panique (Julien Duvivier, 1946)
- Tora-san’s Sunrise and Sunset (Yoji Yamada, 1976)
- Uncle Peckerhead (Matthew John Lawrence, 2020)
Emir Kusturica’s Life is a Miracle was screened on MUBI, compliments of a recent sale on the platform’s subscription. Screened among these last ten features were a number of shorts available on MUBI, including Ben Rivers’ sloth epic, Now, At Last! (2018), and the films of Peter Tscherkassky. MMC!’s love for found footage is no secret and so Tscherkassky’s work has long been an MMC! blindspot requiring attention. Tscherkassky’s films evoke comparisons to Luis Buñuel, Man Ray, Maya Deren, Bill Morrison, and David Lynch, and his transformation of Sergio Leone’s The Good, the Bad and the Ugly (1966) into Instructions for a Light and Sound Machine (2005), a wild portrayal of Eli Wallach’s battle against cinematic rivals, filmic atmosphere, and the medium itself, was near revelatory.