Tagebuch einer Verlorenen (1929): In one of his last silent films, Georg Wilhelm Pabst explores the tribulations of Thymian Henning (Louise Brooks), a pharmacist’s daughter who is…raped and left pregnant, but she refuses to marry and is soon shun from the family and sent to a “rehabilitation” facility. It doesn’t all come across as grim in the film, because Thymian deals with her ordeals very matter-of-factly and ultimately comes out on top as a strong, if not super-independent woman. Brooks brings a lot of nuance to her character, in a movie that’s filled with all sorts of memorable characters, and an ending that feels tagged on, but actually delivers. 8
Tár (2022): Watching Tár, I realized I was never a big fan of Todd Field, even though the projects he’s been involved in have been decent. With this one, I thought for a while the tide might be changing, as a riveting first hour sets up a fascinating character study. Unfortunately, the stronger the movie veers towards #metoo commentary, the less interesting it becomes, to the point that if this had been a movie with a less formidable lead, it would have made for a painful watch. Even so, I found the last half hour turned Cate Blanchett’s character into a caricature, in one of the most brutal takedowns a movie has ever done of “its own”. I’ve rarely felt as frustrated and negative after something I’ve watched, which might be notable in itself, but I don’t think it’s notable for the right reasons. Still, taking a step back from the letdown, Tár is a lot and it’s often a sight to behold, a soundscape to hear, not just my unfulfilling afterthoughts. 7
Encanto (2021): Not one of Disney’s most beloved recent animations, I found Encanto to be uplifting and breezy. It’s a kind of X-Mansion, but with a gifted family that strives to better its community. Things start going awry when Mirabel doesn’t receive any power, which ultimately forces the matriarch abuela to reevaluate her value system. Beyond the rather thin morality tale, the movie features some fun songs, including the famous “We don’t talk about Bruno“. So, clearly, sprinkle in a bit of music and I am appeased. 7
La page blanche (2022): The cutesy, dreamy French girl – well, woman, in this case – features once more in Lpb, a small romantic comedy that’s really more a movie about self-exploration and evaluation. Eloïse can’t remember who she is and has to glue her identity together while pretending not much has changed, which demands a leap of faith for the viewer, but not one greater than believing that a cat would instantly react to its name. Accepting this at face value makes for a light, enjoyable flick, that comes to life with Sara Giradeau’s endearing performance. 7
Meet Cute (2022): A time-bending romantic “comedy”, Meet Cute has its moments in its messy way, but on the whole feels emptier than it should. Kaley Cuoco in particular makes a really good lead, swaying between effervescently romantic and tightly-strung fatalist with impressive ease. Pete Davidson is…well, Pete Davidson, maybe a bit more restrained than usual, playing off Cuoco rather decently, but having less to work with. There’s just not enough freshness to Meet Cute for it to stand out in the crowded space of…infinite time-loop situations. 5
tributary stu 