I had been reading somewhere that procrastination is not always a sign of low productivity, but it can even be a trauma response. These past few weeks have been a lot for someone like me to take in, to the point that it’d even caused me to delay several reviews and even an article about everything unfolding. Yet, I’m still able to make my way through these lists as it’s something I always have fun doing for you, my readers. It’s where I’ve most felt at home, aside from at the movie theatre. So once again, I thank you for your patience.
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: 20th Century Women (2016, Mike Mills)
I remember when I first saw 20th Century Women approximately ten years ago; I was nearing the end of my teenage years, and something about it hit for me. Perhaps it’s the fact that it was where I really was coming to terms with being an adult, and trying to find my own footing in a fast-moving world. Looking back at the movie now, it’s still just as introspective and warm as ever. Knowing the kinds of movies that Mike Mills has made over the years, it’s this one that sticks with me most for encapsulating the ways we understand the many facets that build it. And it feels like a love letter, just as Beginners had done, for people he loved dearly.
#2: Die Tomorrow (2017, Nawapol Thamrongrattanarit)
I think that this film has, quite oddly, made me feel less anxious about death. Perhaps it might be the fact I’ve watched lots of films about death ever since I’d attended my uncle’s funeral this past week, and soon had to enter the wake of my grandmother. Everything about Die Tomorrow gets right down to how several people end up seeing death, whether it be close or far. Yet, there’s no anxiety in acknowledging the inevitable, but the desire to find your own drive to live in that finite amount of time. The short running time perhaps allows the movie to feel like a wake-up call, and I think that’s quite beautiful.
#3: Grave of the Fireflies (1988, Isao Takahata)
Obviously, this is one of the most heartbreaking animated films ever made. And yet, I’ve also reached the point where Grave of the Fireflies doesn’t make me cry anymore. That’s not because I don’t at least feel great sadness from watching the movie, but rather a way of coming to terms with fate. It sounds pessimistic, maybe, but I think there’s still something beautiful about how Isao Takahata utilizes the medium of animation to speak to young audiences about their attitudes. He’s disagreed with the anti-war classification all his life, but it all centers on the overt pride that has kept Japan fighting a losing battle, especially as it affects younger people.
#4: Rushmore (1998, Wes Anderson)
Not going to be the last time I’ll write about Rushmore for this newsletter, of that I’m certain. This is my favourite Wes Anderson movie, not just because it’s the one that makes me laugh the most, but for the ways that Max Fischer is both insufferable and endearing. He reminds us of what kind of person we used to be in school once upon a time, and that’s why we stick with him. He’s young, idealistic, but even ahead of himself as he’s the most extracurricular student at the titular school. We’ve all been there once, haven’t we?
#5: Yeelen (1987, Souleymane Cissé)
Feels astonishing to be able to see this Malian masterpiece on the big screen after having first caught it via a pirated copy on YouTube. Unfortunately, my level of expertise regarding African cinema remains at a minimum, and that’s something I aim to fix within the coming days. Yet, with the help of an introduction from Ashley Clark, I think it only feels appropriate to say that Yeelen, for as much as it builds itself upon myths, just delivers an entertaining ride. Not just as a portrait of precolonial Africa, but Cissé forces us to grapple with our understanding of history – especially after generations of being fed the colonialist lie.
The Complete Day-by-Day Log
First time watches are denoted with bold text. Scores are on a ½ to ✯✯✯✯✯ basis.
Friday
Speed Racer (2008, Lana and Lilly Wachowski) - ✯✯✯✯✯
Tras-os-Montes (1976, Margarida Cordeiro and António Reis) - ✯✯✯✯✯
From Dusk Till Dawn (1996, Robert Rodriguez) - ✯✯✯½, watched on 35mm
Saturday
Livid (2011, Alexandre Bustillo and Julien Maury) - ✯✯✯
Acto da Primavera (1963, Manoel de Oliveira) - ✯✯✯✯✯
This Is Not a Burial, It’s a Resurrection (2019, Lemohang Jeremiah Mosese) - ✯✯✯✯✯
Fight Club (1999, David Fincher) - ✯✯✯✯✯
Sunday
When the Rain Falls (2022, Shusuke Kaneko) - ✯✯
The True Beauty of Being Bitten by a Tick (2025, Pete Ohs) - ✯✯✯✯✯
Yeelen (1987, Souleymane Cissé) - ✯✯✯✯✯
Ana (1982, Margarida Cordeiro and António Reis) - ✯✯✯✯✯
Rosemary’s Baby (1968, Roman Polanski) - ✯✯✯✯✯
Monday
20th Century Women (2016, Mike Mills) - ✯✯✯✯✯
Big Time Gambling Boss (1968, Kosaku Yamashita) - ✯✯✯✯½
Looking for Mr. Perfect (2003, Ringo Lam) - ✯✯✯
The Last Picture Show (1971, Peter Bogdanovich) - ✯✯✯✯✯
Eyes Wide Shut (1999, Stanley Kubrick) - ✯✯✯✯✯
Tuesday
Tahara (2020, Olivia Peace) - ✯✯✯
Wandering Ginza Butterfly (1972, Kazuhiko Yamaguchi) - ✯✯✯✯½
Die Tomorrow (2017, Nawapol Thamrongrattanarit) - ✯✯✯✯½
Wednesday
Rushmore (1998, Wes Anderson) - ✯✯✯✯✯
Grave of the Fireflies (1988, Isao Takahata) - ✯✯✯✯✯
I Swear (2025, Kirk Jones) - ✯✯✯✯
Milk & Serial (2024, Curry Barker) - ✯✯✯✯
Thursday
Nightwatch (1997, Ole Bornedal) - ✯✯✯½
You Can Count on Me (2000, Kenneth Lonergan) - ✯✯✯✯✯
The Snow Woman (1968, Tokuzo Tanaka) - ✯✯✯✯½
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luv rushmore!!