There's a stillness in its quiet, unassuming framing, and in much the same way, Ozu's filmmaking is subtly deliberate. But Late Spring's magic rarely extends beyond this basic quality. Its affinity for realism doesn't really convey emotion as explicitly or effectively as it does the texture of a time and its sensibility.

To me this feels like a shared issue among older films that draw heavily from realism - you can't quite translate contextual character nuances across time and space…

It is a film that’s as bold and messy as it is simultaneously clinical. With explosive contrasts and non-stop, loud collisions of colors, body parts and audio cues, The Substance is having as much fun as it possibly can, yet at the same time remains calm and methodical about its subject - a singular, deeply effective theme that’s underpinned by a meticulously designed analogy: a highly addictive dose of self hatred. Its restraint does not prevent it from going off…

Eggers remains steadfast on his path toward a more conventional pallette, understandably so after his near-ion project the Northman stumbled at the box office. Nosferatu is still rooted in heavy formalism and Eggers' German expressionist tendencies, which, as always, deliver stunning visual works and head-scratchingly impressive technical feats. Yet, rather than reinventing the texture of a film altogether as his past masterpieces have done, these formalist elements feel tied to a more straightforward, less exciting school of horror: modern sensibilities…