Things have been a bit slow on the writing side. Most of this stemmed from me not really having that same motivation, especially when I don’t know if I’m always able to find something I can write about. I didn’t even have a Defining Favourites essay ready on time for Pride Month like I’d hoped, but that’s something I’m working on now so I can do more than just make up for it. Still, I appreciate your patience with me all this time later.
Without further ado, these are Friday’s Five Films. If you like what you’re seeing here, remember to subscribe for a whole lot more.
#1: Finding Nemo (2003, Andrew Stanton)
My earliest memory in a movie theater, and one that made me want to adopt fishes as a kid, before I realized too late that I was terrible at that. It feels rather ironic, especially when this film portrays keeping fishes in aquariums as being a negative, but coming back to Finding Nemo as an adult, I’m surprised how well it holds up. Granted, I’ve always believed that Andrew Stanton was Pixar’s best storyteller, but he’s also pushing for something more ambitious in scope than the likes of Toy Story or Monsters, Inc., with the ocean setting. And yet, it’s also where one of the most entertaining adventures in Pixar’s catalogue comes forth, given Marlin’s neurosis brought on forth by that visceral opening sequence pre-title card. Side note: after having gotten a root canal not too long ago, I can say for certain this is the least accurate portrait of dentistry on the screen. That said, it still makes me laugh a great deal.
#2: Once Upon a Time in China (1991, Tsui Hark)
Maybe my favourite Jet Li movie. Perhaps goes without saying that I’ve always ranked Tsui Hark as one of the greatest Hong Kong filmmakers, especially in the action genre, alongside John Woo and Ringo Lam. In bringing to the screen a story that has become representative of Chinese tradition, Tsui’s rendition is made more enthralling by showing it rising in the face of western modernization. We feel its case made as the film hammers down this idea that martial arts can’t go up against guns, but that doesn’t stop Tsui Hark either. It’s also just why this movie is so fun to watch.
#3: Seduction: The Cruel Woman (1985, Monika Treut and Elfi Mikesch)
This is the only movie I can think of where Udo Kier is begging on his knees for a woman’s love, instead of a man. Though it’s also a good framework for Monika Treut’s first feature film behind the camera, in which a woman utilizing her own sexual energy can place her in power. TIFF has started a series dedicated to Monika Treut, and this was a good place to start – only because I think it tells you everything you need to know about Treut’s own worldview.
#4: Videodrome (1983, David Cronenberg)
Because Canada Day took place, what kind of patriot would I be if I did not seize the opportunity to rewatch one of my favourite pieces of Canadian cinema? For most Canadian cinephiles, I think that Videodrome is a film that needs no introduction. The same can be said about David Cronenberg, especially within that scope of Toronto cineastes. I had written about Videodrome for this newsletter previously, and it’s a piece which I’m immensely proud of. So instead, I’ll be linking that right here.
#5: The Watermelon Woman (1996, Cheryl Dunye)
I like coming back to this film every chance that I have, because it gives people the opportunity to rethink how they understand film history, and its treatment of minority populations. In the context of The Watermelon Woman, the film’s titular actress is not real. Though Dunye’s craft leaves us with a chance to ruminate about the possibility of someone like this “watermelon woman” actually existing, especially if people like herself, being a Black lesbian, have so little screen representation. At a certain point, you just have to go out and make your own history.
The Complete Day-by-Day Log
First time watches are denoted with bold text. Scores are on a ½ to ✯✯✯✯✯ basis.
Friday
Dangerous Encounters of the First Kind (1980, Tsui Hark) - ✯✯✯✯✯
Paytime (2024, Felipe Wein) - ✯✯✯✯
Seduction: The Cruel Woman (1985, Monika Treut and Elfi Mikesch) - ✯✯✯✯✯
A New Love in Tokyo (1994, Banmei Takahashi) - ✯✯✯✯✯
Saturday
The Balconettes (2024, Noémie Merlant) - ✯✯½
WALL·E (2008, Andrew Stanton) - ✯✯✯✯✯
Suddenly, Last Summer (1959, Joseph L. Mankiewicz) - ✯✯✯½
Summer Interlude (1951, Ingmar Bergman) - ✯✯✯✯½
Once Upon a Time in China (1991, Tsui Hark) - ✯✯✯✯✯
Sunday
Emmanuelle (2024, Audrey Diwan) - ✯✯
The Aggressives (2005, Daniel Piddle) - ✯✯✯✯½
The Blade (1995, Tsui Hark) - ✯✯✯✯✯
Niagara (1953, Henry Hathaway) - ✯✯✯
L’enfance nue (1968, Maurice Pialat) - ✯✯✯✯✯
The Watermelon Woman (1996, Cheryl Dunye) - ✯✯✯✯✯
Monday
In Flames (2023, Zarrar Kahn) - ✯✯✯½
Finding Nemo (2003, Andrew Stanton) - ✯✯✯✯✯
Love for All Seasons (2003, Johnnie To and Wai Ka-fai) - ✯✯✯
When Tomorrow Dies (1965, Larry Kent) - ✯✯✯½
Some Like It Hot (1959, Billy Wilder) - ✯✯✯✯✯
A Girl at My Door (2014, July Jung) - ✯✯✯✯
Tuesday
Jackass: Best and Last (2026, Jeff Tremaine) - ✯✯✯½
Virgin Machine (1988, Monika Treut) - ✯✯✯✯½
Jade (1995, William Friedkin) - ✯✯✯✯
Wednesday
In Hell (2003, Ringo Lam) - ✯✯½
The Big Heat (1988, Johnnie To and Andrew Kam Yeung-Wah) - ✯✯✯✯
Jackass 4.5 (2022, Jeff Tremaine) - ✯✯✯✯
Tiki Tiki (1971, Gerald Potterton) - ✯✯✯✯
Videodrome (1983, David Cronenberg) - ✯✯✯✯✯
The Gods Have a Nervous Breakdown (1990, Hisayasu Satô) - ✯✯✯✯
Thursday
Casa de los Babys (2003, John Sayles) - ✯✯✯½
Pom Pom and Hot Hot (1992, Joe Cheung Tung-Cho) - ✯✯✯½
King Hamlet (2025, Elvira Lind) - ✯✯✯½
Female Misbehavior (1992, Monika Treut) - ✯✯✯✯
Over Your Dead Body (2026, Jorma Taccone) - ✯✯✯
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