Pip: The Last Movie Guy — where the movies are old, the obsessions are timeless, and someone is always lurking outside a window.
Mara: Hugo Pagan Soto has been writing this week about desire and destruction — from psychological crime and voyeurism to the doomed world of postwar Japanese gangster drama. Let’s start with the films where obsession does the real damage.
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Pip: The Last Movie Guy — where even the documentaries have better narrative structure than most feature films.
Mara: Hugo Pagan Soto has been watching closely this week — films about exile and memory, about timelines that fold back on themselves, and about the messy, mythologized business of making a Hollywood legend.
Pip: So, stories about how stories get told. Let’s start with memory — and what cinema does when it refuses to let the past stay buried.
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Pip: The Last Movie Guy — where cinema is treated less like entertainment and more like evidence. Evidence of who we are, what we fear, and apparently, how badly we handle both avalanches and old friends.
Mara: Hugo Pagan Soto brings us two very different kinds of pressure this week — the slow crush of cultural collision and family values on one side, and the fatalism of war-era survival on the other. Let’s start with what happens when intimacy turns.
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