ORIGINALLY POSTED 12/30/2021

This is my 2nd time tracking everything I see during the year using LETTERBOXD such a better system! I have to diligently remember to make an entry every time I watch a movie, either at home or in the theater, but it’s such a time saver when it comes to making nominations for The Philadelphia Film Critics Circle vote and compiling my end of the year Best & Worst Movie Rankings.

Due to the vaccine, but COVID still running rampant, 2021 was the year of the hybrid. Film Festivals had both in person screenings and a Virtual components. Platforms had to make quick decisions amid changing release strategies. I started out the year saying I wasn’t going to go back to the movie theaters, only see stuff that was offered as a screener, but of all the movies to bring me back to the big screen, it was The Forever Purge, which I never got around to reviewing. James DeMonaco‘s Purge franchise is like eating butlered hors d’oeuvres at a fancy event, you really enjoy them being served, in fact, I’ll hunt down a waiter or stand near their route from the kitchen to make sure I don’t miss a tray; and they’re super tasty, but at the end of the event, you still haven’t eaten a meal.

So here’s my list and reviews. It’s mostly based on my engagement and overall connection with the film/movie and less on what is more directorial/technically well-done. Of course, in some cases it’s both, and in other cases, I did place quality over pleasure.

Tinsel & Tine’s Ranked TOP 10 MOVIES OF 2021

KING RICHARD | Warner Bros | Director Reinaldo Marcus Green |Writer Zach Baylin

It’s always been said there’s a fine line between madness and genius and this theory proves itself in Richard Williams (Will Smith) father/coach/mentor to tennis legends Venus (Saniyya Sidney) and Serena (Demi Singleton) Williams. This man with a plan is often hard-headed, stubborn, infuriating, single-minded and bold. More importantly, he understands the power of thought, that if you believe something down deep in your soul, you can make other people believe it too and manifest amazing life altering realities. Someone asked why would the biopic be centered around the father instead of Venus & Serena? But the sisters attest to the fact that without their father they would not be the phenoms we all know and admire. Also, giving much credit to their incredible mother, Oracene “Brandy” whose character in the film is solidly present, played by (Aunjanue Ellis). Yet, it’s Richard that figured out how to get the girls to not only play tennis, but love the sport. To insist on the open winning stance, and just steamrolled his way into these affluent, white, male coaches lives; insisting that they see what he sees in his daughters’ abilities. And best of all, after they did, he never for a moment let them think they were in charge of him, his daughters, their finances or his “plan”!

I really love this movie, it’s probably Will Smith’s best role in terms of morphing into another person entirely. The two young actresses playing the sisters are amazing talents, not only new to acting, but had to learn to play tennis like the two GOATS! It’s a family movie with heart and energy. Richard Williams is not a saint in the movie and I’m sure was much worse in real-life, but what is true he taught his daughters to value themselves as black girls turned women of power. T&T LAMB rating: 5 outta 5

Check Out The Cast, Writer, Director, Venus & Serena Interview:

WEST SIDE STORY | 20th Century Studios | Director Steven Spielberg | Screenplay Tony Kushner

If you’re like me you thought why remake a classic? (West Side Story 1957: by Arthur Laurents, Leonard Bernstein, Stephen Sondheim and Jerome Robbins) Well, to get it culturally correct, foremost. But also this 2021 version has more depth, while keeping traditional orchestrations. I expected the score would remain the same, but the songs are also played the way we love them from the original movie.

Steven Spielberg has never made a musical before, but this one looks and feels like the work of an Old Hollywood master. I had assumed he was going to set it in modern times, deal with today’s racial issues of immigration, but it’s just as effective still set in the late 50 – early 60’s, where young white Jets & Hispanic Sharks hate because they need to feel in control of something in the face of hopelessness stemming from poverty and the need to belong.

The Latinx characters come in all shades, so we hopefully won’t have the same backlash we had with “In The Heights” And surprisingly, there’s a lot of Spanish spoken throughout, with no subtitles. This is the first time I’ve ever seen this! And although, I felt sometimes I was missing crucial dialogue, it was good to have it feel authentic for those who live in households where Spanish and English is interchangeable.

The leads are perfect – Ansel Elgort as Tony, who knew he has a mellifluous voice! Rachel Zegler as María has a nearly operatic range and a face that could easily play The Virgin Mary. Ariana DeBose as Anita is an actress about to be a star, she’s pure fire! David Alvarez as Bernardo & Mike Faist as Riff, super good casting. And best of all, having the original Anita, Rita Moreno grace the movie in her own skin tone. She’s also a producer. And if you haven’t seen it yet, be sure to catch her Documentary “Just a Girl Who Decided to Go For It”.

T&T LAMB Rating: 5 outta 5

SPIDER-MAN: NO WAY HOME |Sony Pictures Releasing/Marvel Studios| Director Jon Watts | Screenplay Chris McKenna & Erik Sommers

Normally, with the exception of 2020 when no new Marvel films could be released. Something from the MCU tends to be in my top 10 because I love the superhero/action genre and nobody does it better than Marvel! Although, I wish I could retain more details from all 27 films and be able to see even the most hidden Easter Eggs, but my brain doesn’t work that way. It is my goal for 2022 to re-watch them all in chronological order and try to be more in study mode. Just for the fun of it. I’d like to be able to converse with other MCU geeks and hold my own, and earn the right to sport the merch.

Spider-Man No Way Home is the 3^rd[Spider-Man: Homecoming (2017) and Spider-Man: Far From Home (2019)] in the Tom Holland trilogy and picks up where we were left off where Spider-man has been totally burned by the dying Mysterio’s (Jake Gyllenhaal) last villainous act of revealing Peter Parker as the web slinging Avenger. It had been bandied about a lot since the animated Spider-Man: Into the Spider-Verse that the MCU would be delving deeper into the Multi-verse, but who would ever have believed they could pull off not only getting the villains Alfred Molina‘s Doc Ock ,Willem Dafoe‘s Green Goblin and Jamie Foxx’s Electro from the Sam Raimi and Marc Webb films, but to also allow our minds the ability to feel like we can now accept all of the Spider-Men we’ve known over the last 20 years (Tobey Maguire and Andrew Garfield ) as also true. It’s just a game changer in terms of what is possible in Hollywood studio negotiations, casting coups and storytelling mastery! Seeing them all on a rooftop comparing where their webs come from, love lost, worst villains, and where battles have taken place… basically a Spidey group therapy session – simply priceless 👏🏽

“No Way Home” is jam packed – after all, a blown secret identity leads to an exploded personal life; MJ (Zendaya) is ride or die, but it’s still a relatively new romance and a lot of this affects her future (awesome scene of Peter swinging her through the city like a rag doll to avoid the throngs of people turned against him). May (Marisa Tomei) breaking up with Happy (Jon Favreau) and trying to parent a superhero; then you add in Dr. Strange (Benedict Cumberbatch) a reversal spell, a hunt for bad guys unknowingly breaking out of their Universes and, and, and… all perfectly paced and purely entertaining! T&T LAMB rating: 5 outta 5

Be sure to check out T&T Contributor Enrico Versace’s

post on the possible future of the Spider-man franchise

(Click image)

LAST NIGHT IN SOHO |Focus Features |Writer/Director Edgar Wright | Co-Writer Krysty Wilson-Cairns

This is Edgar Wright’s second release this year. The Sparks Brothers (see 10 Worst films below) and now Last Night in Soho. Obviously, Wright is a musician at heart; capturing the musical styling of Sparks and infusing his films like this one & Baby Driver (see T&T review) with outstanding soundtracks, which further drive the narratives. Wonder when he’ll direct an out-an-out movie musical? I’d love to see an updated version of Bye Bye Birdie. I think he and his co-screenwriter, Krysty Wilson-Cairns could do an excellent job with that classic.

Last Night in Soho, begins with soon-to-be-fashion student Ellie Turner (Thomasin McKenzie) dancing around her Cornwall home to 1964 hit “A World Without Love.” She’s wearing a fab gown made of newspapers. A figure watches her from the mirror, but it’s obvious Ellie is used to the vision. Her grandmother enters with the mail. Ellie’s acceptance letter is in there for London College of Fashion. And soon she’s off to the big city. A city that chewed up and spit out her mother as a young woman, something that doesn’t stop Ellie, as her mind is on a time when this part of the city was born – the 60’s, idolizing this time period, its music, fashion, vibe.

Although Ellie assures her grandmother that she’s tough enough to give London a shot, she wasn’t prepared for getting a bitch of a roommate. She tries to go along to get along, but eventually moves out of the dorms and finds a room at what appears to be a boarding house, run by Ms. Collins (Diana Rigg, in her final film role). Only Ellie is her only boarder. Her first night in the room Ellie, who we’ve come to understand has a sensitivity to the spirit world, has a lucid dream of a pretty, blonde wanna be cabaret singer named Sandy (Anya Taylor-Joy), who lived in 1966 London. In these dreams or reveries, Ellie and Sandy are connected. There’s wonderfully creative camera work where the two girls seamlessly trade places inside these memories. And clever shots of mirror images with Ellie on one side and Sandy on the other. At first Ellie is elated by this gift of being able to experience this time period 2^nd hand and can’t wait to go to sleep at night – until Sandy’s world takes a very bad turn and Ellie is not only helplessly transfixed, but now also haunted in her waking life.

What I love of course is the costuming of the scenes set in the 60’s, the cocktail dresses and patent leather white raincoat and such are magnificent! Almost every look in “Last Night in Soho” is a reinvention of a real-life vintage garment Costume designer Odile Dicks-Mireaux found either rummaging in one of London’s many second-hand stores or in an old sewing pattern. In many cases, genuine articles of 1960s clothing.

The last half of the movie does change genres and gave me shades of last year’s hit Promising Young Woman (see T&T review). I would have preferred to keep to the tone of the first half; yet still I can say, it definitely earned its spot on my top 10 List. T&T LAMB rating: 4.5 outta 5

RED ROCKET |A24 | Writer/Director Sean Baker |Co-Writer Chris Bergoch

Writer/Director Sean Baker (The Florida Project) (see T&T review) has created another character driven story of a fringes of society type, who you can’t help but like and root for, despite knowing they are all kinds of wrong. Mikey Saber (Simon Rex) is the porn world’s version of “Leave it to Beaver’s” Eddie Haskell, on the surface he tries to make nice with everyone and appear an affable fellow, all while everyone sees through him and his scheming ways. Mikey has had to make a hasty retreat from his porn star life in Hollywood and come back to his home town of down trodden, oil refinery laden, Texas City, with not only his tail between his legs, but a big schlong and only the clothes on his back. He’s come begging his ex- costar and ex (but never divorced wife) Lexi (Bree Elrod) for a place to stay. She lives in a ramshackle house with her wizened, meth mouth mother (Brenda Deiss) but it’s better than being homeless. He is far from the prodigal son returned home, but after some convincing they let him move in. At first you think he’s gonna try to go legit and get employment and leave his old life behind, but who wants to hire a middle aged sex worker with no legit experience. So he falls back on what else he knows, selling weed. Mikey is one of those very energetic, manipulative types who’s always looking for his next opportunity, which he finds at the local Donut Hole – a beautiful 17 year-old Lolita with a nickname of Strawberry (Suzanna Son) who he sees as his ticket back to Cali and the lucrative porn life he reveres.

The movie has some repetitiveness of seeing Mikey riding his bike to go visit Strawberry and slowly win her over as she’s no easily controlled air-head. And hanging with local yokel neighbor, Lonnie (Ethan Darbone) who he uses for rides too far for biking. But for the most part the movie is a hoot and a half. Very reminiscent of Adam Sandler in “Uncut Gems” where you hate yourself for wanting their plans to work out.

T&T LAMB rating: 4.5 outta 5

PIG |NEON |Writer/Director Michael Sarnoski |Co-writer Vanessa Block

Nicolas Cage will forever be straddling that line between an Actor’s actor and B Movie fodder. I wonder how he sees himself? In this movie PIG, he’s definitely the former. Rob (Cage) is a dirty, uncommunicative hermit living in the woods of Oregon. He does however need supplies and a couple of little luxury items like a boom box from the early 90’s. To that end, he makes his living as a Truffle Hunter, reminiscent of the doc I saw Sundance 2020 by Michael Dweck & Gregory Kershaw titled The Truffle Hunters, in that film they use dogs to help snuff out where these odd delicacies are hiding underground, deep in the forest. In PIG Rob uses, you guessed it, a pig to root for truffles.

His buyer is a slick, young guy, Amir (Alex Wolff) who’s trying to make a name for himself in the ultra-chic, haute cuisine Portland restaurant supplier business, in competition with his cut-throat father Darius (Adam Arkin). It’s all working well enough until the fateful night someone comes and kidnaps Rob’s pig, forcing him out of solitude to revisit a life he left behind 15 years ago.

“Co-writer and director Michael Sarnoski has an eye for unadorned natural beauty, and Patrick Scola’s sensual cinematography celebrates the golden light that streams through a kitchen window and the textures of the Pacific north-west’s autumn foliage. It appears Sarnoski values no-frills authenticity on the plate too, having Rob unleash a haughty diatribe against the pretensions of molecular gastronomy over a dish of scallops “bathed in the smoke of Douglas fir cones”. READ MORE Simran Hans The Guardian

I didn’t expect PIG to turn into a foodie film, with gastronomic experiences. And I certainly didn’t expect it to make my Top 10 List. But the overall story is captivating and original. You think this dirty, slightly crazy, hulking misanthrope is gonna pull a John Wick on everyone in the process of recovering his beloved swine. But instead, because he knows the players of this underground fine dining den of iniquity, he kinda has the inside track, with varying degrees of success, assisted by his “chauffeur” Amir. The relationship that develops between these two during the course of the film qualifies for PIG to make my Favorite Friendship Driven Movies Letterboxd List. Ultimately, it’s a movie about facing your demons and coming to terms with the past both the highs and the lows.

T&T LAMB rating: 4.5 outta 5

NIGHTMARE ALLEY | Searchlight Pictures | Writer/Director Guillermo del Toro | Co-Writer Kim Morgan

I approached this movie fresh, never having seen the 1947 Tyrone Power’s version, or read the William Lindsay Gresham novel which both movies are based upon. “Nightmare Alley” is, obviously, a work of Film Noir which means that some conventions are baked into the formula. Then Academy Award-winning director of The Shape of Water (click for T&T post) Guillermo del Toro took that formula and added in his unique attention to visual details – locations, set production, lighting, props and costumes, to create a world that’s grotesquely gorgeous, sumptuous and darkly beautiful.

Stanton “Stan” Carlisle (Bradley Cooper) is seen burning a body and a farmhouse to the ground and leaving in a scene giving homage to Terrence Malick’s Days of Heaven. It’s obvious Stan doesn’t have a plan apart from that act of criminal defiance. But as luck would have it, which it seemed for all those down on their luck and/or on the lam in the early 1900s, there happens to be a traveling carnival about to pull up stakes. The only other options back then would be to jump a freight train, which is also what Stan does later in the story.

Not all the Carney folks take to Stan, who is silent through the first 25 minutes of the movie, for no apparent reason. He does win over the Carnival owner Clem (Willem Dafoe) and a couple who deal in the clairvoyant. Zeena (Toni Collette) whose broken-down husband (David Strathairn) once had a successful mentalist act until alcoholism robbed him of his gift. He does however retain enough of it to take Stan under his wing for a short time.

It takes Stan a bit longer to win over the girl he’s got his eye on, Molly (Rooney Mara) who has an electricity act he eventually improves for her, engaging Molly’s trust and affection. Of course, we all know she shouldn’t give him the time of day. Stan is definitely handsome and charming, but it’s also more than obvious his few kind gestures are self-motivated, this guy is a loner who will throw anyone under the wagon wheel should it suit his purposes.

This is one of those films told in what feels like two parts. But before it moves on to the second half, we get the set up foretelling us of Stan’s eventual, horrific fate; yet the pull is in wanting to see how this could possibly come to pass.

Second half Stan and Molly are living the good city life, hotel suites, plenty of food, meticulous clothing. Stan has now perfected his mentalist act and Molly plays along more to please him, than to keep the good times rolling. They could’ve gone on fine like this for a while, except another part of the noir storytelling trope walks in – The Dame. There’s always got to be a head turning, impossibly confident, smart as a whip woman who becomes the downfall of the protagonist and Cate Blanchett was born to play that dame.

Nightmare Alley made my top 10 list more out of respect for del Toro’s imprint and penchant for stylistic flourishes, and melancholic romance, more than my engagement with the movie itself.
T&T LAMB rating: 4 outta 5

I mean just look at Lilith’s (Blanchett) Office!

NINE DAYS | Sony Pictures Classics | Writer/Director Edson Oda

I know Winston Duke from his role as M’Baku in Black Panther/Infinity War, and as the Dad, complete with dad jokes, in Jordan Peele’s US, but I don’t remember feeling like his lips were particularly compelling, for some reason they are in this movie. I kept feeling like I wanted to kiss him and I’m not usually attracted to very full lips on a man. Maybe it was the mood I was in, or maybe it’s because he’s literally playing a lost soul in Nine Days.

Synopsis: Will (Winston Duke) spends his days in a remote outpost watching the live Point of View (POV) on TV’s of people going about their lives, until one subject perishes, leaving a vacancy for a new life on earth. Soon, several candidates — unborn souls — arrive at Will’s to undergo tests determining their fitness, facing oblivion when they are deemed unsuitable. But Will soon faces his own existential challenge in the form of free-spirited Emma (Zazie Beetz), a candidate who is not like the others, forcing him to turn within and reckon with his own tumultuous past. Fueled by unexpected power, he discovers a bold new path forward in his own life. Making his feature-film debut after a series of highly acclaimed and award-winning short films and music videos, Japanese Brazilian writer/director Edson Oda delivers a heartfelt and meditative vision of human souls in limbo, aching to be born against unimaginable odds, yet hindered by forces beyond their will…

In many ways this film reminds me of Disney’s SOUL, only these 9 Day souls have fully formed bodies, but similarly to SOUL, they also have fully formed personalities. Both films surmise the bureaucratic process of becoming alive on earth or living again (reincarnation) and whether or not it’s a gift.

Benedict Wong plays a soul who has never been alive, yet he’s the salt of the earth type. It’s never really determined whether he’s above or below Will in rank on this in between life and death plane.

Tony Hale plays that kinda dude who’s always looking to kick back and make a friend. Not work too hard.

Bill Skarsgård plays that white, privileged frat boy type, who has no fear and never questions his decisions. Polite, good looking, but kinda soul-less.

Arianna Ortiz plays a sentimental type soul, mildly attractive, looking for love.

David Rysdahl plays a super sensitive, artist soul, the complete opposite of Skarsgård, this soul second guesses everything.

Zazie Beetz (one of my favorite up and coming actresses) plays a newer soul. She comprehends everything, but has an open, questioning, innocence to her. She’s never guarded and wonders why Will, in particular, is so much so.

Edson Oda has written a weirdly absorbing, existential, sci-fi drama. But of course this type of film creates more questions than it answers like; why this in between plane got stuck in like circa 1986, all picture tube TV’s, VCRs, file cabinets, and super low tech. Why after interviewing the souls for 9 Days and determining which will be reborn, does Will and the other interviewers feel the need to watch how their lives turn out on a daily basis? They can’t affect the outcome, so why become so attached?

T&T @LAMB rating: 4 outta 5

BITCHIN’: THE SOUND AND FURY OF RICK JAMES | Showtime |Writer/Director Sacha Jenkins |Co-Writers Jason Pollard & Steve Rivo

As I always say, nothing like a music biopic! I always thought of Rick James as a caricature way before the still truly hilarious Dave Chappelle skits as told by the late Charlie Murphy. And we do learn most of his larger than life party, women and drugs persona was correct. But more importantly, he was never given proper credit for being a gifted musician, stylist and producer, not as prolific, but nearly on par with Quincy Jones. This documentary directed by Sacha Jenkins begins with us being introduced to James’ daughter, Ty James, which was a great idea because there’s something very compelling about this woman; she’s got a unique sense of style and attractiveness and a frankness that immediately pulls you into her father, James Ambrose Johnson Jr‘s, rocky legacy.

First off, who knew Buffalo NY was more racist than parts of the South in the 60’s? And who knew Rick James went AWOL from Vietnam headed to Canada where he became friends and collaborators with the likes of Joni Mitchell and Neil Young! Who knew he was at Motown during the time of The Supremes, Smokey Robinson and Stevie Wonder ? And for that matter, that Berry Gordy’s son remained his manager during the height of his career. Or that Prince was kind-of a Dick early in his career, pissing off James, after being invited on tour. There’s just so many good stories and blanks filled in. Much of it told by former Stone City Band Members, one of James’ bitter brothers, Bootsy Collins (Parliament-Funkadelic) and Ice Cube who talks about James’ influence on him growing up. It pleases me to have this new perspective on this iconic musician who although no longer with us (died 2004), and certainly no saint, his music still creates elation every time I hear it.

T&T LAMB rating: 4 outta 5

THE FALLOUT | Warner Bros Pictures | Writer/Director Megan Park

Vada’s (Jenna Ortega) little sister Amelia (Lumi Pollack) texts with a 911 emergency, so she excuses herself from class to call her sister back, turns out the younger sibling has just started menstruating; she’s prepared for this female rite of passage, but needs her older sister to share in the moment. Vada decides to use the ladies room before heading back to class, runs into Mia (Maddie Ziegler), whose applying makeup for picture day, like one does for a Zoom job interview. Vada says something innocuous to Mia, but sends a text about the girl to a friend that’s lightly derogatory. Then bang, next thing you know, life hangs in the balance, as she and Mia, soon joined by a male student with blood on his shirt, all huddle together inside a bathroom stall, praying for their lives as an active shooter rampages the hallways of their school.

THE FALLOUT (SXSW World Premiere) is written and directed by Megan Park in her feature directorial debut, which deservedly won the Grand Jury Prize in the Narrative Feature Film Competition . This film uses a dramatic inciting incident to tell a smaller more intimate story and it works so beautifully.

Vada (this talented, diminutive actress has an adorably expressive face) reaches out to Mia who despite being viewed as an “It Girl”, needed a friend even before the shooting and readily accepts Vada’s overture of Friendship. Vada learns Mia is often left to her own devices, her Dads often out of the country. They didn’t even return to comfort their daughter knowing she just survived a mass shooting. Mia & Vada’s hangout sessions are very believable. The dialogue is loose, and their teen-ness feels real.

Same holds true with the other decisions Vada makes to create distance from her family, (mother played by Modern Family’s Julie Bowen) experimenting with sex and drugs – nothing too crazy; possibly things that may have happened had there not been a tragic event, but there’s always that underlying knowledge that she’s processing. Contemplating life in a deeper way than those who have never gone through the fear and anguish of a school shooting. I can imagine after you attend the vigils and funerals, get counseling, go back to school and graduate, it can seem as though life has returned to normal. But I’m sure in actuality, there’s always gonna be a part of you filled with complicated emotions too complex to ever fully understand.
T&T LAMB rating: 4 outta 5

Tinsel & Tine’s Ranked WORST 10 MOVIES OF 2021

DEAR EVAN HANSEN (Universal Pictures) Director Stephen Chbosky | Screenplay Steven Levenson – Bad execution of a plot which never redeems itself.

THE SOUVENIR II (A24) Writer/Director Joanna Hogg – basically she rehashes The Souvenier to death. If Hogg had just tightened up the original, all these scenes could have been in it and would have fleshed it out nicely, instead of trying to milk it for a sequel.

THE ELECTRICAL LIFE OF LOUIS WAIN (Amazon Studios) Writer/Director Writer/Director Will Sharpe |Co-writer Simon Stephenson – There’s just not much there to tell. The “Electrical life” part could have been something, Wain wasn’t interested in electricity the way of Edison. I believe he was on the brink of talking about the frequency or vibration each soul emits out to the Universe and back. But the movie never captures any real thoughts on his talk of electricity.

THE LITTLE THINGS (Warner bros ) Writer/Director John Lee Hancock – I get that this was a character study of 3 men, strangely obsessed with crime, but it was just so much build up for a very dissatisfactory ending.

THE SPARKS BROTHERS (Focus Features) Director Edgar Wright | featuring Ron Mael & Russell Mael – It’s good they’re in on their own joke. And I like leaning about bat shit crazy stuff that exists, but this should have been a short.

ANNETTE (Amazon Studios ) Director Leos Carax | Story Ron Mael & Russell Mael – What else did I expect from the Sparks brothers!?! But that creepy puppet, really? WTF!

THE BETA TEST (IFC Films ) Writers /Directors Jim Cummings & P.J. McCabe – Lead to nothing. And this f’n guy is not an anti-hero you root for, he’s a douche you wanna see destroyed!

LIMBO (Focus Features) Writer/Director Ben Sharrock – This was bleak and dull. Nothing like the trailer suggests of it being an off-beat, indie comedy.

WOLF ( Focus Features) Writer/Director Nathalie Biancheri – a concept film which never gets past the conceptualizing.

BAD LUCK BANGING OR LOONY PORN (microFILM) Writer/Director Radu Jude – 25 minutes of sex, 26 minutes of running inconsequential errands in a mask and 10 minutes of a school board meeting. Everything else in between is indecipherable.