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A list by czyzewski on Film Reality
- Mulholland Drive (2001)
- Happy Together (1997)
- Incendies (2010)
- The Fly (1986)
- Zodiac (2007)
- The Deer Hunter (1978)
- Fight Club (1999)
- Amadeus (1984)
- Love, of Course (2018)
- almost tragic portrait of genius and envy
- very watchable film. Attractive
- Pi (1998)
- Life Is Beautiful (1997)
- Dogville (2003)
- The Deluge (1974)
- The Lighthouse (2019)
- Melancholia (2011)
- Knight of Cups (2015)
- Amour (2012)
- but they’re held so tightly within Haneke’s design that they rarely spill over into something messy or unpredictable. The pacing is immaculate
- it would be wrong to say it doesn’t land. It does—but not in the moment it’s happening. While watching it
- Caché still feels more alive—more volatile
- eXistenZ (1999)
- just a bit unevenly energised. Then the ending hits and suddenly the whole thing snaps into focus in a way that makes you rethink what you’ve just watched.
- Get Smart (2008)
- A Clockwork Orange (1971)
- for all its formal brilliance
- punishment as spectacle
- so meticulously framed and so aesthetically distanced
- A Clockwork Orange feels less like an exploration of moral instability than like a demonstration of formal control masquerading as provocation. Everything is accounted for
- Breaking the Waves (1996)
- again and again
- not as part of a cumulative argument. The rest is pressure without progression.
- not manipulative in a simple sense
- La Notte (1961)
- Minnie and Moskowitz (1971)
- as if structure itself is being refused on principle. But refusal alone doesn’t automatically produce meaning. The characters are abrasive to the point of near-opacity; not simply flawed or humanly difficult
- Sinatra: Singing at His Best
- fragments resist this collapse. A glance that lingers too long
- structurally underthought
- The Social Network (2010)
- very little feels alive. This is a story about people who should be bleeding with ambition
- Backrooms (2026)