like slowly dancing through ghosts and conversations, leaving you tranced with its staggering beauty. My mind rushed back and forth between the information I was being given and into my own life and mind. India Song. 5/5

Most would not dare to take such risks in a debut film -- most in any film during their career. Alonso's choices and concepts are power and he appears to execute them without fear. He has left me feeling truly inspired.

Noonan more than any other director I've seen crafts tension and anxiety to the most tangible of levels, a film that feels like a masterpiece under my lens

I learned more from this film about filmmaking than any class I had in college. No, not narrative filmmaking, but the art of deconstructing narrative and rebuilding from our own instinct, a recreation of cinema.

One of the best scripts I've ever had the pleasure of viewing executed.

I have never seen such an amazing 'one man band' piece as Bae's work here. His vision was purely realized and he executed each aspect of it perfectly, one of the best films I've seen in recent time.

After a revisit my dislike for the film has been re-evaluated. The cinematography left me awestruck -- Russell is a beautiful painter and many of the beats are within Hitchcock's best (though I need not tell anyone that). . . the score was amazing and the script one of the more solid crafted scripts I can recall. Re-evaluation for the better, for sure.

Great message and diet, horribly executed -- Joe Cross is lucky he stumbled upon Phil Staples to give the doc/his message a more human aspect.

Revisiting this, every time, feels like taking a deep breath and living in slow motion for one hundred and thirty-six minutes. Even when attempting to study the film I can't help but become sucked into being an audience member again. How you do me Ozu, oh how you do me.

Just finished my first pass for a shot by shot analysis of this film. Writing down the blueprints to this film, second hand, really bashes the beautiful fact over my head that Tsai creates visual poetry. Frustratingly so.

Fei Mu's work in "Spring in a Small Town" showcases pitch perfect pacing for a minimalist drama. A style totally his own and an understanding of the human condition and of the heart that is relate-able to all persons -- though only one of the characters suffers from physical heart problems, they all were suffering from the ills of their hearts, like a contagious cracking in a frozen lake.

A beautiful, beautiful film. It saddens me to see that for the same price as filming Star Wars: A New Hope . . . we could get 110 films funded like this one that touch the depths of the human soul and struggle of what it is to love and live. . . but lazers and wookies are cool too.

Poetry. Moments of this feel like a precursor to Pasolini's Salo, or the 120 Days of Sodom -- in a world or story without heroes, that's what this film would be. Beautifully executed.

wonderful.

From the moment I saw Cukor's name share space with Lubitsch's i figured I'd be in for something special -- and outside of my issue handling uncomfortable moments . . . it was a blast and I really laughed a lot . . . even though I was alone

Amazing. I loved it. Nam's early use of electronic manipulation feels very alive and important to what would become the digital age of experimental cinema. Wonderful.

That bass note really just . . . pulls on my heart and makes me super uncomfortable.

Hilarious. My first film with W.C. Fields, but won't be my last.

One of the best uses of high contrast cinematography I've ever seen and an over all stunningly beautiful and poignant film.

my favorite Griffith thus far.

This requires another experience again soon. One of the more wonderful experiences I've had with any film. Each step is one of precision, but you are almost lead blindly, but you know it's the way you should be going . . .

One of the most powerful films I've had the privilege of seeing lately.

This is one of the best character documentaries I've ever seen. And docs overall.

Truly wonderful, nothing like I was expecting. On every form it made me re-think film . . .

Intolerance . . . Influence.

a beautifully hypnotizing experience. One of Brakhage's more tangiable films for me.

The second installment of this series fails to live up to the first, which I found quite amazing, but is still a moving piece. I found myself quite hypnotized during it and often feeling the world being shown as something tangible. The rest of this series really needs to be added to the database sometime.

If only we hired more directors to do our pre-ludes to the cinema! It'd be great to see Woody Allen, Linklater, or someone like Lynch do a 'turn off your cellphone' prelude. The comic gag that hits halfway through is what it took for me to actually laugh out loud at this, it caught me very off guard.

Decent, but what is really impressive is the fact that so early in his career Ford still captures scenery like no one.

Feeling like one of Welles' more commercial ventures still a decent watch and the interrogation scene is magnificent.