Movies in 2026 150

 

The Love That Remains (Hylnur Palmason, 2025)

I guess you are kind of a film nut, if not a film whore, if not also a big whopping nerd, when you come up from downstairs and your wife asks, "What did you watch?," and you reply, "Another Icelandic film." Last night I watched Last night I watched Hylnur Palmason's 2025 film The Love That Remains. Last year I had watched Palmason's Winter Brothers (2017) and Godland (2022), both of which I loved - and both of which, especially the former, were pretty grim. The Love That Remains definitely has a lighter touch, although it has some sobering moments. It tells the story of a couple, Anna (Saga Gardarsdottir) and Magnus (Sverrir Gudnarson), who are splitting up, and how they continue to are devoted to each other and their three kids (played by Palmason's own children). There are moments that are very funny and other that are very sad - and other that are more surreal, including the attack of a giant, revenge-seeking rooster. Palmason fashions some scenes that will definitely stay with me, including the large human-like doll hanging from a pole, overlooking the North Sea, that is shown throughout the entire year, and is essentially a character in its own right (including coming to life, sort of, at the end) and an image of Magnus floating in the ocean at the end (real or metaphor, it's left up to you). You get the sense of loss and anger and frustration, but also of enduring love. Highly recommended, as are Winter Brothers and Godland.

Movies in 2026 149

 

Seven Chances (Buster Keaton, 1925)

I'm continuing my deep dive into silent movies, and am becoming a huge Buster Keaton fan in the process. Yesterday morning I watched his 1925 film Seven Chances. Somehow I had never seen it, although I had seen clips of the utterly (and justifiably) iconic scene of him running down a hillside while dodging boulders (how he kept from killing himself is anybody's guess). The more of his films that I watch, the more I understand why he's considered one of the greatest directors of all time. Highly recommended. I'm trying to convince my good friend David Rous that he's a dead ringer for Buster Keaton, which he doesn't see yet, but doubtless will as I pester him about it. 

Potential for Growth

 I just wanted to post a great picture of Gary and Ali that I snapped the other night at the wonderful retirement party that my friends threw me the other night at Queen City Brewery. Their speeches were so heartfelt and loving (and clearly far effusive than can be justified by my meagre virtues), that in the end I was not in the position to thank them. at least collectively, I talked to everyone face to face, as thoroughly as they deserved. I gather pictures and have more to say about this - and the other party - later. I feel very loved and appreciated.

Having Gary and Ali there topped it off. I love them both so much, and will miss them terribly.

Movies in 2026 148

 

Detour (Edgar Ulmer, 1945)

It was definitely Old School night at the cabin last night. After watching silent shorts from Chaplin and Keaton, Janet joined me to re-watch Edgar Ulmer's utterly classic 1945 film noir Detour. It's a film that we both absolutely love, and compete to jump in with the lines as they're spoken.  Ulmer is sometimes referred to as the King of the Bs, as in he's always associated with B movies, but that's pretty unfair. He ended up in that niche and could never quite climb out of it, but he directed the hell out of what he was given and his budgetary restraints. After it was over we started watching a related documentary on Ulmer (the documentary was two and half hours, while Detour is an hour). Ulmer's filmography is amazing, including a series of tuberculous informal films (he was a working director, and he took what was available). Ann Savage completely steals the show as the vindictive, psychopathic Vera - it's an absolutely stunning performance. The movie has aged remarkably well and is now considered a classic, and Savage's performance is the stuff of legend; it's the reason why Guy Maddin cast her as his mother in his docu-fantasia My Winnipeg. This is beyond highly recommended, it is required viewing. I've used it over the years in my Japanese film noir class (as we started the classes by discussing foundational aspects of film noir) and even my students loved it.

Movies in 2026 147

 

Sherlock Jr. (Buster Keaton, 1924)

I'm becoming quite the Buster Keaton fan, and it's about time. I've always liked Keaton, but never really watched enough of his films in a row to truly get an appreciation of him. He's wonderful, and it's hard to imagine a filmmaker who more consistently makes me laugh and gasp than him (while watching, I'm often amazed that he didn't kill himself). Last night I watched his 1924 film Sherlock Jr., which, in addition to some utterly crazy physical stunts, included some truly meta film mischief (his character, who shows movies, walks into the movie he's showing - which has been copied endlessly throughout the years). Highly recommended.

Movies in 2026 146

 

A Day's Pleasure (Charlie Chaplin, 1919)

I'm continuing my exploration of short and silent films, and this included last night's viewing of Charlie Chaplin's 1919 A Day's Pleasure. A good family man takes his wife and kids out for a boat ride, which leads to some inspired shenanigans. It's not the best Chaplin, but it's still awfully good, and you should check it out. 

Movies in 2026 145

 

Anatomy of Hell (Catherine Breillat, 2004)

It does seem like I'm re-watching several films (although I've also watched a lot of new ones, obviously), and one of them is Catherine Breillat's 2004 film Anatomy of Hell. I watched it for the first time a couple years ago and didn't like it, and decided to give it another watch and confirmed my initial opinion (although I think I liked it more this time). That said, I don't think it's a film that is meant to be liked, but rather a film that is meant to be experienced, and which is meant to make you uncomfortable. Amira Casar (in a very great and brave performance) plays a woman who tries to slit her wrists in a gay nightclub. She's saved by a gay man, which leads to the first words in the film: Man: "Why did you do that?" Woman: "Because I'm a woman." So, yeah, you know you're in for a bumpy night. The woman hires the gay man (played by Rocco Siffredi, an actual famous porn actor) to watch her for four nights and tell her what he sees. It's very graphic, which I guess explains why Breillat hired an actual porn actor for the role. Actually, I was less put off by the graphic nature of the scenes than by much of the pretty leaden dialogue, especially from the character of the man. Sort of like Belle de Jour, at the end you're not quite certain of what happens, that is, does the man commit an act or imagine that he'd like to commit an act. I can't recommend it, although I've also watched it twice, so clearly I see something there. I think I like the idea of Catherine Breillat making films more than her actual films, to which she'd no doubt say, quite rightly, "who cares?" Maybe I'll check back here later when I inevitably watch it again in three years.