Michael Sicinski
@msicism.bsky.social
Views expressed here do not reflect the views of my employer. My employer has no views.
Good allyship, Puzzmo.
January 20, 2026 at 7:53 PM
Good allyship, Puzzmo.
Fun for the whole family!
January 15, 2026 at 9:04 PM
Fun for the whole family!
Oh there most certainly is.
January 13, 2026 at 6:14 AM
Oh there most certainly is.
Look at this fucker.
January 6, 2026 at 12:32 AM
Look at this fucker.
Howard is growing up good.
January 2, 2026 at 4:20 AM
Howard is growing up good.
Rushnan Jaleel, IN THIN AIR
Along with Hattler, Jaleel was 2025's best discovery. Just slightly bolder than his other '25 film The Dithering Veil, In Thin Air is a poetic gambol of shadows that proves unexpectedly challenging for the eye. Feel your focus pulled and your irises expand and contract.
Along with Hattler, Jaleel was 2025's best discovery. Just slightly bolder than his other '25 film The Dithering Veil, In Thin Air is a poetic gambol of shadows that proves unexpectedly challenging for the eye. Feel your focus pulled and your irises expand and contract.
December 31, 2025 at 10:28 PM
Rushnan Jaleel, IN THIN AIR
Along with Hattler, Jaleel was 2025's best discovery. Just slightly bolder than his other '25 film The Dithering Veil, In Thin Air is a poetic gambol of shadows that proves unexpectedly challenging for the eye. Feel your focus pulled and your irises expand and contract.
Along with Hattler, Jaleel was 2025's best discovery. Just slightly bolder than his other '25 film The Dithering Veil, In Thin Air is a poetic gambol of shadows that proves unexpectedly challenging for the eye. Feel your focus pulled and your irises expand and contract.
Blake Williams, FELT
Nobody else is exploring the aesthetic potentials of 3D the way Blake does, but I think you knew that. But FELT is possibly his most personal film to date, part travel diary, part landscape reverie, and a look at the USA through a very different polarized lens.
Nobody else is exploring the aesthetic potentials of 3D the way Blake does, but I think you knew that. But FELT is possibly his most personal film to date, part travel diary, part landscape reverie, and a look at the USA through a very different polarized lens.
December 31, 2025 at 10:25 PM
Blake Williams, FELT
Nobody else is exploring the aesthetic potentials of 3D the way Blake does, but I think you knew that. But FELT is possibly his most personal film to date, part travel diary, part landscape reverie, and a look at the USA through a very different polarized lens.
Nobody else is exploring the aesthetic potentials of 3D the way Blake does, but I think you knew that. But FELT is possibly his most personal film to date, part travel diary, part landscape reverie, and a look at the USA through a very different polarized lens.
Maryam Tafakory, DARIA'S NIGHT FLOWERS
The latest installment of Tafakory's radical queering of Iranian film history. This is the most overtly political entry, as well as the most formally seamless. It's as if the hidden meanings were on the surface the entire time.
The latest installment of Tafakory's radical queering of Iranian film history. This is the most overtly political entry, as well as the most formally seamless. It's as if the hidden meanings were on the surface the entire time.
December 31, 2025 at 10:24 PM
Maryam Tafakory, DARIA'S NIGHT FLOWERS
The latest installment of Tafakory's radical queering of Iranian film history. This is the most overtly political entry, as well as the most formally seamless. It's as if the hidden meanings were on the surface the entire time.
The latest installment of Tafakory's radical queering of Iranian film history. This is the most overtly political entry, as well as the most formally seamless. It's as if the hidden meanings were on the surface the entire time.
Blake Williams, FELT
Nobody else is exploring the aesthetic potentials of 3D the way Blake does, but I think you knew that. But FELT is possibly his most personal film to date, part travel diary, part landscape reverie, and a look at the USA through a very different polarized lens.
Nobody else is exploring the aesthetic potentials of 3D the way Blake does, but I think you knew that. But FELT is possibly his most personal film to date, part travel diary, part landscape reverie, and a look at the USA through a very different polarized lens.
December 31, 2025 at 6:01 PM
Blake Williams, FELT
Nobody else is exploring the aesthetic potentials of 3D the way Blake does, but I think you knew that. But FELT is possibly his most personal film to date, part travel diary, part landscape reverie, and a look at the USA through a very different polarized lens.
Nobody else is exploring the aesthetic potentials of 3D the way Blake does, but I think you knew that. But FELT is possibly his most personal film to date, part travel diary, part landscape reverie, and a look at the USA through a very different polarized lens.
Maryam Tafakory, DARIA'S NIGHT FLOWERS
The latest installment of Tafakory's radical queering of Iranian film history. This is the most overtly political entry, as well as the most formally seamless. It's as if the hidden meanings were on the surface the entire time.
The latest installment of Tafakory's radical queering of Iranian film history. This is the most overtly political entry, as well as the most formally seamless. It's as if the hidden meanings were on the surface the entire time.
December 31, 2025 at 5:55 PM
Maryam Tafakory, DARIA'S NIGHT FLOWERS
The latest installment of Tafakory's radical queering of Iranian film history. This is the most overtly political entry, as well as the most formally seamless. It's as if the hidden meanings were on the surface the entire time.
The latest installment of Tafakory's radical queering of Iranian film history. This is the most overtly political entry, as well as the most formally seamless. It's as if the hidden meanings were on the surface the entire time.
Camilo Restrepo and Jorge Caballero, 09/05/1982
An experiment in AI's frightening ability to produce fraudulent history from whole cloth. What if there were popular uprisings and authoritarian crackdowns that were logically possible but nonexistent? Counterfactual history as promise and threat.
An experiment in AI's frightening ability to produce fraudulent history from whole cloth. What if there were popular uprisings and authoritarian crackdowns that were logically possible but nonexistent? Counterfactual history as promise and threat.
December 31, 2025 at 5:48 PM
Camilo Restrepo and Jorge Caballero, 09/05/1982
An experiment in AI's frightening ability to produce fraudulent history from whole cloth. What if there were popular uprisings and authoritarian crackdowns that were logically possible but nonexistent? Counterfactual history as promise and threat.
An experiment in AI's frightening ability to produce fraudulent history from whole cloth. What if there were popular uprisings and authoritarian crackdowns that were logically possible but nonexistent? Counterfactual history as promise and threat.
Alexis McCrimmon, REMOTE VIEWS
A spiritual sibling to Joseph's BLKNWS, McCrimmon's film is a mashup of mid-90s Afrocentric cable access programming, offering a glimpse of utopian aspirations that remain fresh and yet, in terms of our degraded media landscape, are indeed too remote.
A spiritual sibling to Joseph's BLKNWS, McCrimmon's film is a mashup of mid-90s Afrocentric cable access programming, offering a glimpse of utopian aspirations that remain fresh and yet, in terms of our degraded media landscape, are indeed too remote.
December 31, 2025 at 5:44 PM
Alexis McCrimmon, REMOTE VIEWS
A spiritual sibling to Joseph's BLKNWS, McCrimmon's film is a mashup of mid-90s Afrocentric cable access programming, offering a glimpse of utopian aspirations that remain fresh and yet, in terms of our degraded media landscape, are indeed too remote.
A spiritual sibling to Joseph's BLKNWS, McCrimmon's film is a mashup of mid-90s Afrocentric cable access programming, offering a glimpse of utopian aspirations that remain fresh and yet, in terms of our degraded media landscape, are indeed too remote.
Jodie Mack, LOVER, LOVERS, LOVING, LOVE
Another frame-by-frame workout, but with a more thoroughgoing mathematical rigor. Seems to be a coda to the Wasteland series, implying that new flowers are about to bloom. Patterns are made to be broken.
Another frame-by-frame workout, but with a more thoroughgoing mathematical rigor. Seems to be a coda to the Wasteland series, implying that new flowers are about to bloom. Patterns are made to be broken.
December 31, 2025 at 5:41 PM
Jodie Mack, LOVER, LOVERS, LOVING, LOVE
Another frame-by-frame workout, but with a more thoroughgoing mathematical rigor. Seems to be a coda to the Wasteland series, implying that new flowers are about to bloom. Patterns are made to be broken.
Another frame-by-frame workout, but with a more thoroughgoing mathematical rigor. Seems to be a coda to the Wasteland series, implying that new flowers are about to bloom. Patterns are made to be broken.
Vadim Kostrov, IN TRANSIT
A camera in motion, right to left, with a precisely adjusted soft focus. Forms are visible but take a back seat to painterly abstraction. Again, a classical approach but applied with the subtlest touch.
A camera in motion, right to left, with a precisely adjusted soft focus. Forms are visible but take a back seat to painterly abstraction. Again, a classical approach but applied with the subtlest touch.
December 31, 2025 at 5:36 PM
Vadim Kostrov, IN TRANSIT
A camera in motion, right to left, with a precisely adjusted soft focus. Forms are visible but take a back seat to painterly abstraction. Again, a classical approach but applied with the subtlest touch.
A camera in motion, right to left, with a precisely adjusted soft focus. Forms are visible but take a back seat to painterly abstraction. Again, a classical approach but applied with the subtlest touch.
Kim Minjung, FROM MY CLOUD
Ostensibly a collection of fragments of unfinished films, From My Cloud is a tapestry of fugitive forms. The editing is both logical and surprising. Classicism in the vein of Kubelka, Beavers, and Dani ReStack.
Ostensibly a collection of fragments of unfinished films, From My Cloud is a tapestry of fugitive forms. The editing is both logical and surprising. Classicism in the vein of Kubelka, Beavers, and Dani ReStack.
December 31, 2025 at 5:31 PM
Kim Minjung, FROM MY CLOUD
Ostensibly a collection of fragments of unfinished films, From My Cloud is a tapestry of fugitive forms. The editing is both logical and surprising. Classicism in the vein of Kubelka, Beavers, and Dani ReStack.
Ostensibly a collection of fragments of unfinished films, From My Cloud is a tapestry of fugitive forms. The editing is both logical and surprising. Classicism in the vein of Kubelka, Beavers, and Dani ReStack.
Max Hattler, NORM
One of this year's major discoveries, Hattler's film was made in collaboration with a team of Hong Kong students, and although it doesn't *look* like a tribute to Norman McLaren, its procession of rigid forms (circles, stripes, font charts) reveals a similar sense of play.
One of this year's major discoveries, Hattler's film was made in collaboration with a team of Hong Kong students, and although it doesn't *look* like a tribute to Norman McLaren, its procession of rigid forms (circles, stripes, font charts) reveals a similar sense of play.
December 31, 2025 at 5:28 PM
Max Hattler, NORM
One of this year's major discoveries, Hattler's film was made in collaboration with a team of Hong Kong students, and although it doesn't *look* like a tribute to Norman McLaren, its procession of rigid forms (circles, stripes, font charts) reveals a similar sense of play.
One of this year's major discoveries, Hattler's film was made in collaboration with a team of Hong Kong students, and although it doesn't *look* like a tribute to Norman McLaren, its procession of rigid forms (circles, stripes, font charts) reveals a similar sense of play.
Basma Al-sharif, MORNING CIRCLE
Al-sharif uses the language of European art cinema to place the viewer in the role of interrogator and xenophobic defender of nationalism. But the film shakes us loose. Childhood isn't innocent, but it's a start.
Al-sharif uses the language of European art cinema to place the viewer in the role of interrogator and xenophobic defender of nationalism. But the film shakes us loose. Childhood isn't innocent, but it's a start.
December 31, 2025 at 5:23 PM
Basma Al-sharif, MORNING CIRCLE
Al-sharif uses the language of European art cinema to place the viewer in the role of interrogator and xenophobic defender of nationalism. But the film shakes us loose. Childhood isn't innocent, but it's a start.
Al-sharif uses the language of European art cinema to place the viewer in the role of interrogator and xenophobic defender of nationalism. But the film shakes us loose. Childhood isn't innocent, but it's a start.
Screener season grinds on…
December 23, 2025 at 3:58 AM
Screener season grinds on…
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AIN'T GONNA PLAY SUNCINSKI
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AIN'T GONNA PLAY SUNCINSKI
December 16, 2025 at 11:50 PM
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AIN'T GONNA PLAY SUNCINSKI
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AIN'T GONNA PLAY SUNCINSKI
I'm guessing there were some tense, high-level discussions related to giving this film a new English title.
December 15, 2025 at 11:16 PM
I'm guessing there were some tense, high-level discussions related to giving this film a new English title.
If @gemko.bsky.social watches THE PRESTIGE a few more times, it should earn a rare 114/100.
December 11, 2025 at 4:10 PM
If @gemko.bsky.social watches THE PRESTIGE a few more times, it should earn a rare 114/100.