I have to admit that my first encounter with Chungking Express years ago was a confusing one. I was just getting into films, my experience with cinema was limited to mainstream Hollywood films and I had never seen anything like Chungking Express. I restarted my computer twice because I was sure the frame rate was my computer’s fault and not part of the film. Coming back to it years later with an appreciation for Wong Kar-wai’s other films and fresh eyes feels wonderful.
Third episode of the podcast is here!
On our Patreon page we set a goal of $75 to start working on our podcast and two months ago we hit that goal, thanks to your help! Every time we gain a new Patron, we come one step closer to saving enough money to pay to our writers. You can help us with as little as $1.
In our third episode podcast host Charlie Dykstal talks with our editor-in-chief Dilara Elbir, editor Mary Beth McAndrews and staff writer Mia Vİcino about their favourite films and performances of 2018 and what they are looking forward to in 2019. Available on iTunes, Spotify, Google Play and Stitcher.
Happy awards season everyone!
Here it is, the season we all hate to love and love to hate, the Awards Season! Predictions, staying up to watch awards, fighting our favourites until the Oscars when our exhaustion reaches its peak and we all go “I never want to live through another season again!” until the festivals hit and Here We Go Again! Critics circles already started naming their winners but the fun officially starts tonight with Golden Globes. Here at Much Ado we love our predictions so please enjoy reading the winners our hearts desire, and those we think will snatch the award!
2018 has been a wild year for film, from wildly entertaining sequels (see Mamma Mia: Here We Go Again and Paddington 2) to Yorgos Lanthimos’ latest in dry, yet tragic, humor to a horror film featuring tongue clicking, a nut allergy, and dead pigeons. It has been year for powerful women, both in front of and behind the camera, from the women of Annihilation to Crystal Moselle and her look into the world of women skateboarders. It has been a year to interrogate representations of masculinity, from Joe in You Were Never Really Here to Reverend Toller in First Reformed. It has been a year of terror, love, laughter, and exhaustion, both literally and cinematically. The films of 2018 truly captured the strange and turbulent atmosphere that has thrown us all into a state of near-constant anxiety.
The Much Ado team has relished in this anxiety, seeing many of 2018’s best, and worst films with the help of film festivals such as Cannes, NYFF, and BFI, MoviePass (RIP), and AMC Stubs A-List. After much deliberation, Letterboxd rankings, and last-minute trips to the cinema, we present Much Ado’s top 25 films of the year.
Second episode of the podcast is here!
On our Patreon page we set a goal of $75 to start working on our podcast and last month we hit that goal, thanks to your help! Every time we gain a new Patron, we come one step closer to saving enough money to pay to our writers. You can help us with as little as $1.
In our second episode podcast host Charlie Dykstal talks with our editor-in-chief Dilara Elbir, editors Mary Beth McAndrews, Cassidy Olsen and staff writer Sydney Bembry about holiday films and specials. Available on iTunes, Spotify, Google Play and Stitcher.
Happy holidays everyone!
Dear Much Ado readers, get ready to be listeners!
We’re so proud to share the first episode of our podcast with you. It’s been a year (and a month) since we opened Much Ado and we could never imagine how far we’d come in such a short time.
On our Patreon page we set a goal of $75 to start working on our podcast and this month we hit that goal, thanks to your help! Every time we gain a new Patron, we come one step closer to saving enough money to pay to our writers. You can help us with as little as $1.
Our first episode is about, as it should be on October 31st, Halloween! Podcast host Charlie Dykstal talks with our writers Mia Vicino, Mary Beth McAndrews and Tyler Llewyn Taing about horror films that scared them in childhood, jump scares and how cathartic horror films can be.
Listen to the first episode on iTunes, Spotify, Stitcher and Google Play. Don’t forget to subscribe for upcoming episodes and share your feedback with us on twitter or via e-mail at firstname.lastname@example.org.
Chinese director-writer Bi Gan’s second feature, Long Day’s Journey Into Night, which premiered at Cannes’ Un Certain Regard, is set in Kaili like his first feature Kaili Blues. The film has nothing in common with Eugene O’Neill’s play by the same name or with the film’s Chinese title Last Evenings on Earth, a short story collection by Roberto Bolaño. They’re both just amongst many literary and artistic references that are scattered throughout the film.
Protagonist Luo Hongwa (Huang Jue) gives to us one of the central mysteries of the film by questioning the reality of fragmented memories in the first scene, as he reminisces about a love affair he had many years ago. Throughout the film, we’re never sure if what we’re seeing is a memory or a dream, reality or plays of Hongwa’s subconscious. The first 70 minutes of the film delve into that love affair between Luo and Wan Qiwen (Tang Wei), a woman straight out of a femme fatale section of a character trope book. There are ambiguous plotlines about their mutual friend Wildcat’s murder, Luo’s father’s restaurant, a green book, but none of them reach somewhere. They’re more like part of the flow than devices that advance or enrich the story.