August-November 2025 Viewing Diary

Posted on December 9, 2025 by sheila

I haven’t watched much this year, beyond what I was assigned to review. Of course at end of year I have to scramble to catch up, which I am still doing. Instead I watched a lot of true crime, re-watched the X-Files and … read a lot. I read more than I watched movies this year. Frankenstein took up most of my time. The book came out in October – but up until July, there were still edits I had to do – not on the text, which was set – but providing captions, and chapter titles and whatever. Not to mention a lot of personal stuff going on as well as multiple trips to New York – I might have spent about 1/4 of my year in New York. I’m tapped out. I never get tapped out but I finally admitted that I am just exhausted from the last two years (or, year and a half), with personal life exploding in positive and negative ways, family obligations, plus writing a whole damn book plus politics and protesting. I rarely just can’t get it up for writing but I’ve just had to admit the well is empty and I need to refill it. So. I think I saw one movie in September. Wild. I haven’t been able to write on my Substack or here. I’m so tired. I’ll get it back in 2026. Thanks for sticking with me, if you have.

October and November were hugely eventful. Podcast appearances, book events, then the New York premiere, and then a trip to California in early November with a group of friends from my theatre days in Chicago.

Here’s the last couple of months of viewing.

The Fox Hollow Murders: Playground of a Serial Killer (2025; d. Alex Jablonski)
Watched back in August. I had never heard about this case and it creeped me out.

Stranger Things (2016), season 3
Continued re-watch with my niece. We had to stop in the fall because Frankenstein took over my world. We had hoped to get it all watched by the time the last season came out but, alas, was not meant to be. I am now avoiding spoilers and waiting until I have free time. Which is hilarious because I never have free time, except the hours between 6 am and 10 am.

The X-Files: I Want to Believe (2008; d. Chris Carter)
Moving toward the end of my X-Files re-watch which took me months and gave me great comfort due to its familiarity. I just haven’t been able to absorb new stuff – my brain was taken up with other things.

The X-Files, Season 10, 11 (1993)
It’s just a joy. Also I finally got a television – long story – and it’s MASSIVE. The first thing I watched on it was the almost totally silent episode from season 11. I think it’s a masterpiece. And … it’s so accurate about where we are and where we are going.

Went Up the Hill (2025; d. Samuel Van Grinsven)
Creepy and grim. I reviewed for Ebert.

An Officer and a Spy (2019; d. Roman Polanski)
I went to go see this at the Film Forum with Celeste Marcus and her fiancee Leni (whom I had never met, but I have heard so much about her). I actually saw a pirated version in 2019, I reached out to a friend who could get it to me, and I’m not sorry, I had to do it. If you insist on refusing to release films then I will have to do what I can to see it. It was finally released for a short run at the Film Forum this August. It was a blazingly hot day and I was in New York for a series of meetings and events and I walked everywhere and was drenched in sweat when I arrived. We were going to a matinee and there was a line down the block for the Polanski. Very glad I grabbed us tickets beforehand. I ran into Matthew in the lobby at the Film Forum, whom I haven’t seen since the Florida Film Festival, so that was so fun and one of the things I love about New York: running into people! Obviously this film is controversial, and there are many who will refuse to see it, which is their right. And it’s my right to go see it! The film is masterful. The “J’accuse” section was goosebump-worthy, accompanied by Alexandre Desplat’s gigantic score.

The Thursday Murder Club (2025; d. Chris Columbus)
This was cute and entertaining and a very nice distraction. I reviewed for Ebert.

All of You (2025; d. William Bridges)
Imogen Poots here, who gave the best performance by a woman this year (or a man, really) in Kristen Stewart’s The Chronology of Water. This is all right, although it got a little tiresome. All that YEARNING gets a little boring. I reviewed for Ebert.

The Man Who Saves the World? (2025; d. Gabe Polsky)
I love Gabe Polsky’s work and I really loved this film. I reviewed for Ebert.

Frankenstein (2025; d. Guillermo del Toro)
I saw multiple times, of course. In September of last year, while I was in Scotland, Guillermo and editor Evan Schiff showed me pretty much everything they had filmed up to that point (GDT edits as he goes). There weren’t any visual effects, of course, so it was unfinished but I got a sense of it (which helped me when I interviewed people). In February and then in March I went to private screenings of the film in New York, one for Netflix people and then one – at GDT’s request – just for me. It was wild. By that point, everything was pretty much done except for the score and the CGI animals. So it was a blast to actually go see it in the theatre with an audience, the finished “product”. I atteneded the New York premiere, I also went with my family, and I went with a group of friends. I’ve been living with this thing by myself in private for a year and a half, so I’ve really enjoyed getting to share it.

Die My Love (2025; d. Lynne Ramsay)
It’s definitely polarizing. Some friends despise it. Some love it. It’ll definitely get you talking. I reviewed for Ebert.

Trifole (2025; d. Gabriele Fabbro)
A gentle little fairy-tale of a movie about truffle hunting in Italy. I reviewed for Ebert.

Law & Order; SVU season 1 (1999)
I was desperate for distraction and I saw Mariska Hargitay on Amy Poehler’s podcast and was like, “I’ve never really watched SVU.” I admired her film about her mother (My Mom Jayne, which I reviewed), and loved her personality in that interview. So I watched season 1. She and Chris Melloni have great chemistry.

Murdaugh: Death in the Family (2025; created by Michael D. Fuller and Erin Lee Carr)
Jason Clarke and Patricia Arquette totally submerge themselves in this world and these people. I am so impressed with their performances (particularly Arquette’s because “Maggie” is sort of forgotten in all of this, and Arquette – with great sympathy and no condescension – helped this woman make sense to us. They moved the timeline around a bit and not everyone is on board with that, but I understand the choice.

Zodiac Killer Project (2025; d. Charlie Shackleton)
This was really good. I reviewed for Ebert.

My Undesirable Friends: Part I – Last Air in Moscow (2025; d. Julia Loktev)
An astonishing document of in-real-time authoritarian crackdown: in the months leading up to Russia invading Ukraine, the last independent news station in Russia struggled on, even though they’d been labeled “foreign agents”, and had to announce this at the start of every broadcast. Basically saying “I am an Enemy of the People.” Loktev flew back to document what was going on with her “undesirable” friends. Some were in prison. Others were moving out of Russia. After the invasion, everyone fled, to avoid persecution. So it was the “last air” in Moscow of anything even resembling an independent press. This brutal and extraordinary documentary is five hours long. It’s devastating and should make everyone very very frightened.

Eephus (2025; d. Carson Lund)
In my top 10 for the year.

The Secret Agent (2025; d. Kleber Mendonça Filho)
Also in my top 10. The NYFCC gave Wagner Moura Best Performance by an Actor. Highly recommended.

Mr. Scorsese (2025; d. Rebecca Miller)
A goldmine, a treasure trove, even if you already know all this stuff.

It Was Just an Accident (2025; d. Jafar Panahi)
My favorite film of the year. Panahi is actually here in the United States now – !! – touring around screening the film. In the meantime, the regime in Iran put out a call for his arrest. So he can never go back. Over the last almost 20 years I could never have predicted he would actually be able to get out – and come HERE, of all places. He wasn’t allowed to leave Iran for over a decade. He was imprisoned and tortured. The NYFCC gave him Best Director – so that means I’m going to get to meet him at the awards dinner. I can’t even believe this.

Train Dreams (2025; d. Clint Bentley)
In my top 10. It’s gorgeous and sad and quiet.

Misericordia (2025; d. Alain Guiraudie)
Loved this film. I love any film featuring French detectives or police officers working a case. I have a soft spot for French detectives. Here, a sexually fluid sexually provocative young man basically … infiltrates a small village, causing absolute sexual chaos in pretty much everyone. It’s very French and I dig it!

2000 Meters to Andriivka (2025; d. Mstyslav Chernov)
One of the best documentaries of the year. 20 Days in Mariupol was one of the most powerful documentaries in 2023, and this is equally as harrowing. 2000 meters might as well be 2000 miles.

The Thing with Feathers (2025; d. Dylan Southern)
Not good. I reviewed for Ebert.

Oh, Hi! (2025; d. Sophie Brooks)
Allison showed this to me. I really loved it. I loved it so much I watched it twice! Molly Gordon wrote it and stars. It’s more complex than it looks, as well as insightful about the Gen-Z-millennial-cusp dating scene. It’s not cut and dried, and it’s written by someone who is actually living it. It’s also funny, with a ridiculous premise. Bold!

Christmas Eve in Miller’s Point (2024; d. Tyler Taormina)
Allison showed me Oh, Hi! and I showed her this, which I wrote about last year on my Substack. The film was shot (gorgeously) by Carson Lund, who makes his directorial debut this year with the wonderful and weirdly haunting Eephus.

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“Film is, to me, just unimportant. But people are very important.” — John Cassavetes

Posted on December 9, 2025 by sheila

When I think of Cassavetes, anything that comes up is inextricable from my own life journey. He’s just so IN there with me, the choices I made, the goals I had, my values. He’s also behind my favorite marriage proposal, which might sound silly but … it’s Cassavetes. It’s not silly at all. That’s the one proposal I said yes to. Now, we did not end up getting married, but it’s still a pretty funny story. I discovered Cassavetes young, which I think is good. I discovered him before I was a film critic, long before, which I also think is good. I came to him as an actor, looking for community, hungry for connection. He was (and still is) inspiring. I took this picture, when I was living right behind the Music Box Theatre, and spent all my free time there.

It was years before I could finally see the long-unseeable Love Streams (his final film) … and, coincidence? I think not … my first “gig” for Criterion, back in 2014, was to write and narrate a video-essay about Gena Rowlands’ career. It all made sense.

Of course I’ve written so much about Cassavetes over the years but I’ll highlight just two I’m really proud of:

For my newsletter, I resurrected an old piece about Minnie and Moskowitz, a film that gets me every time.

And most recently, I wrote a piece I’d been wanting to write for years. Decades, really. I wrote about my VIVID first year in Chicago – which I’ve covered in other contexts (“tsk tsk”) – and how I saw Opening Night for the first time, and also discovered Tennessee Williams’ Two-Character Play. Within months of each other. To this day, those two works of art seem almost the same to me. I was different after I encountered both, and never really got back to my before self: John Cassavetes, Tennessee Williams, and Intelligent Insanity.

“I guess every picture we’ve ever done has been, in a way, to try to find some kind of philosophy for the characters in the film. And so, that’s why I have a need for the characters to really analyze love, discuss it, kill it, destroy it, hurt each other, do all the stuff in that war, in that word-polemic and film-polemic of what life is. And the rest of the stuff doesn’t really interest me. It may interest other people, but I have a one-track mind. That’s all I’m interested in – love. And the lack of it. When it stops. And the pain that’s caused by loss of things that are taken away from us that we really need. ”
— John Cassavetes

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

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“There needs to be one more bag.” — Buck Henry

Posted on December 9, 2025 by sheila

It’s his birthday today.

I come from a family who can (and does) recite What’s Up, Doc? from beginning to end – “What happened to Fritz?” “There is only me. Franz.” “Oh, what a SHAME.” (My old friend Trav wrote up a tribute to Henry when Henry died in 2019.) My brother and I were indoctrinated into What’s Up Doc young, when our parents let us stay up late to see it. We have now passed it on to the next generation.

Here’s a story I love. It illuminates Buck Henry’s glinty-eyed genius. It comes from an interview with Peter Bogdanovich at the AFI back in the 70s. Bogdanovich had the idea for this kooky story, a spin on the screwball comedies of the 1930s, featuring a dizzy dame, an absent-minded professor, and a hot-to-trot old lady: these three characters all have identical bags. The bags get mixed up. Hijinx ensues.

Bogdanovich brought the script/treatment to Buck Henry for feedback. Buck Henry sat there and read it all the way through, Bogdanovich waiting patiently. Henry finished and thought a little bit. He did not say “Great job”. He did not say “It needs work, let me go through my notes.”

All he said was: “I think there needs to be one more bag.”

One more bag in play means one more level of confusion. Means more utter anarchy. If there were only three bags, the audience could easily keep track of each one. With four, you lose track. As a matter of fact, during filming Bogdanovich lost track at a couple different points. “I think we’ve lost one bag.”

To me, this small anecdote shows Buck Henry’s genius. He didn’t need weeks to come up with it. He read Bogdanovich’s first draft and he knew something wasn’t quite right.

“There needs to be one more bag.”

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

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“I take it to be my portion in this life, joined with a strong propensity of nature, to leave something so written to aftertimes, as they should not willingly let it die.” — John Milton

Posted on December 9, 2025 by sheila

Milton was born on this day in 1608. Although he left Oxford without completing his degree, he remained a thinker, a propagandist/pamphleteer, a scholar till the end of his days. The isolated poet, focused on self and personal emotion, would come in with the Romantics. Milton was a public and a political man, a propagandist for the Commonwealth (a dangerous position to take, especially once the Restoration came about). Milton traveled widely, and wrote what amounts to op-ed columns discussing the constitution in England at that time of great upheaval. Whatever poetry he wrote (and he wrote a lot), he wrote privately. Milton was famous in his own day. His reputation since then has risen and fallen with the tides, and we are now in a huge Milton upsurge. He turned 400 in 2008, and there were celebrations across New York City: art exhibits, library exhibits, and also a costume-party in Brooklyn where you had to dress up as either Milton, or a character from Paradise Lost.

I had to read Paradise Lost in high school and thought it was the most boring thing I had ever been subjected to in my life. I had to prop my eyeballs open. I re-read it about 10 years ago, and was totally swept away by it, not only by the thoughts/philosophy in the great work, but also the depths and transcendence of the language itself. I feel like people should be forced to RE-read what they were forced to READ in high school.

More, much more, after the jump.

Continue reading →

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“In real life you aren’t allowed to say you’re angry but in music you can say anything.” — Sinéad O’Connor

Posted on December 8, 2025 by sheila

It’s her birthday today. I’ll never be over it.

If you were there, then you remember the singular moment when Sinéad O’Connor arrived on the world stage. It wasn’t like the appearance of any other “big star”. It was different. She came from seemingly nowhere. Her voice was eerie and transcendent. She was drop-dead gorgeous. Her head was shaved, a protest against objectification, an announcement she would not be just another “pop star”. She insisted she wasn’t a pop star at all. “I’m a protest singer,” she said. She arrived fully formed into a world with no place for her. She created her own place. Yes, but she also so obviously came from somewhere specific. Ireland was always with her. And as a teenager who was steeped in Irish history, via my dad, including a stint there when I was a freshman in high school, there was something very familiar about her. The second she arrived, you couldn’t imagine what it was like before she got there. That’s how it was when Sinéad O’Connor walked onto the world stage.

If I had to talk about favorite songs … there are so many. “Troy” blows your hair back. “Red Football.” Protest. “This is the Last Day of Our Acquaintance.” Personal. “Famine.” Political. “Scorn Not His Simplicity.” “Black Boys on Mopeds.” Political. “Daddy I’m Fine.” “No Man’s Woman.” “4th and Vine.”

She torched her career when she tore up a picture of the Pope on Saturday Night Live.

But she was fucking right.

And she was courageous enough to say it out loud when nobody wanted to hear it, when people were still propping up evil, defending and denying it. It would be 30 years before the world finally realized what had been going on. 30 years nobody listened. She ruined her career for it. Where were all the apologies owed her when the truth came out, once and for all?

“As long as the house of The Holy Spirit remains a haven for criminals the reputation of the church will remain in ruins.” — Sinéad O’Connor

She continued making records. She came out with an album of Irish traditional songs, she came out with a quasi-reggae album. She recorded with the haunting monks of Glenstal Abbey (if you don’t know, please seek it out). She was a constant searcher. Religion had hurt her. She was raised in what was practically a theocracy. Her rebellion was Joycean in its complete rejection. She still yearned for it though. She found solace in other religions. Her desire for a relationship with God was paramount. People thought she was “crazy”. When she died, much of the commentary was enraging. And as I said after she died: do not come on my site and talk about her “demons”, even if you mean it sympathetically. If that’s your framing of her, that she battled her “demons”, finally losing her battle to her “demons” – meaning mental health issues and depression – then I must remind you, and it’s not a discussion: The world was the demon. The world did this to her.

Clear your schedule to watch her late-in-the-game performance of “Nothing Compares 2 U”.

My brother wrote an essay about her album The Lion and the Cobra.

Sinéad O’Connor deserved better. The world showed its true colors in response to her, as it always does when someone rejects the status quo, when someone tells the truth nobody wants to hear.

Let’s end with “Troy”. Hair-raising. Let’s listen to the recording of the song and then watch it live.

I will never stop being sad.

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

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“As an artist, I wonder, What can I do to make the audience think differently about what good is, what bad is, who a man is, and who a woman is.” — Matthias Schoenaerts

Posted on December 8, 2025 by sheila

It’s his birthday today.

One of my favorite contemporary actors. I think he blows the competition away. I can’t say enough good things about him. His versatility is dazzling. He can be so gentle. He can be so ferocious. He can be elegant and cosmopolitan. He can be provincial and practically pre-verbal. He can be 100% right-now and he can also be at home in a period piece. He’s always convincing. He doesn’t have to work to convince me that he is who he says he is in any given role. He just IS that character. He flies a little bit under the radar, all things considered. Actors should know who he is, and explore his work. Of all of my columns for Film Comment, the one I did on Schoenaerts got the least engagement on Twitter. This doesn’t seem right. Schoenaerts is not just the real deal. He makes other actors look show-off-y. He is not intellectual in his approach – he “gets inside” via the physical (he’s similar to De Niro in this way). He lives in Belgium mostly. He’s a devoted graffiti artist, he’s been doing it since he was a kid.

The column I devoted to him in Film Comment focused on his interesting insightful examinations of masculinity and its toxic claustrophobia, the damage it does – not to women, but to men. (Again, this is similar to De Niro, who doesn’t so much have a “take” on the dangers when men isolate isolate themselves, but insight into the condition).

Now for individual films, all of which I referenced in the Film Comment piece:

I absolutely love Alice Winocour’s Disorder – and since I reviewed it for Ebert I’ve re-watched it 4 or 5 times. It’s so effective, a high-throttle home invasion thriller, but also a devastating psychological/physical portrait of a man struggling with combat PTSD. This is one of his mostly-wordless roles.

I wrote about 2011’s Bullhead, the first time he was really introduced to American audiences. Bullhead is deeply upsetting, and traumatizing to watch. I don’t think I’ll ever see it again, but his performance is unforgettable.

And last but definitely not least: I went long on the extraordinary Rust and Bone, one of my favorite films of the last 10, 15 years..

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

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“Really, there isn’t such a thing as ‘method acting.’ There’s only good acting and bad acting.” — Ellen Burstyn

Posted on December 7, 2025 by sheila

“It’s been awhile. My Oscar is getting kind of tarnished. I looked at it a couple of years ago and thought I really needed a new one.” — Ellen Burstyn

It’s her birthday today.

In less than a decade, Ellen Burstyn was nominated 5 times for an Oscar (for The Last Picture Show, The Exorcist, Alice Doesn’t Live Here Anymore, Same Time Next Year and Resurrection) and won one Oscar (for Alice Doesn’t Live Here Anymore). One of the best runs in the business. Then in 2001, 4 decades after that extraordinary run, she was nominated for an Oscar again for Requiem For a Dream. Her work in the 70s and 80s helped define the new cinema, the independent era, the boundaries-breaking of the old studio system. Similar to Jack Nicholson, she WAS 1970s film.

She’s nominated almost any time she acts, including the controversial nomination for her 14 seconds of screen time in HBO’s Mrs. Harris in 2006. People were upset, like: how on earth could only 14 seconds be worthy of a nomination? It was the talk of the town for a good 2 weeks. Burstyn made no statements about it for a while. After all, it wasn’t her fight. If they wanted to nominate her, how is that HER fault? Finally, she did make a statement, and it’s glorious:

I thought it was fabulous. My next ambition is to get nominated for seven seconds, and ultimately I want to be nominated for a picture in which I don’t even appear.

She’s co-President of the Actors Studio, an organization which she has always been highly involved in and associated with. Lee Strasberg adored her, and clocked what he saw as her issues as an actress immediately, issues that needed to be addressed if she wanted to get anywhere in her career. But I’ll talk about that in a minute.

First, a story.

Continue reading →

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Review: The Chronology of Water (2025)

Posted on December 5, 2025 by sheila

This is Kristen Stewart’s directorial debut. (She directed a short film in 2017. This is her first feature.) It’s an adaptation of Lidia Yuknavitch’s 2011 memoir of the same name and it’s an extraordinary piece of work. I can’t say enough good things about it. It’s experiential, so my descriptions of it can’t really do it justice. I reviewed for Ebert.

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Review: Come Closer (2025)

Posted on December 5, 2025 by sheila

Tom Nesher’s Come Closer is a work of personal catharsis, and I respect a lot of what she did. I reviewed for Ebert.

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“Even to this day, I watch The Wizard of Oz like I did when I was five years old. I get really involved in it.” — Lynne Ramsay

Posted on December 5, 2025 by sheila

“When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn’t explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world.” — Lynne Ramsay

It’s the birthday of Scottish director Lynne Ramsay.

In a better world, this fascinating complicated director would have a larger body of work. But she is independent, fiercely so, and she develops her own projects. It’s my kind of work, she’s interested in the darker side of things, the ambiguities, the wordless and sometimes incomprehensible (to outsiders, that is) response to crisis. The opening sequence of her 2002 film Morvern Callar is a case in point. I saw that one in the theatre, and I was stunned by it (I hadn’t seen Ratcatcher. I went into Morvern Callar pretty much cold). The opening sequence is just astonishing – but what is even more astonishing is what happens after, what Morvern (the brilliant Samantha Morton) does AFTER that opening scene. You keep waiting for an “appropriate” response from her, and it never comes. Social norms are a very thin veneer indeed, and mostly for people who can easily fit into its little boxes. John Cassavetes’ films – although they take place in a very different landscape, and exist on a very different wavelength than Ramsay’s films – exist too in that netherworld where social norms just seem insane, or at the very least, so far away as to be irrelevant. Sane people watch Faces and think, exasperated, “These people all need to go home, take a long bath, and get a good night’s sleep.” Yup! But that’s first of all not interesting or dramatic, and second of all, beneath the “appropriate” veneer is a vast swirling chaos, of impulses we can barely control, of pain we can’t face, of the things we do to just shut up and endure. This is Lynne Ramsay’s wheelhouse.

I look forward to every single new film she does. I feel a bolt of excitement when I hear she’s got a new one coming down the pike.


Ratcatcher


Morvern Callar


We Need to Talk About Kevin


You Were Never Really Here

A couple years back, she made headlines walking off a film she had helped develop. She looked around, realized the producers wanted her to change things, wanted a happy ending (fuck these people and their happy endings) … and finally just figured out, “Oh. They actually don’t want me to be making this film for them.” Ramsay is not – never – ever – a “hired hand”. So she walked off, with no notice. People were outraged, how dare she, etc. I really love this interview with her – not just about that situation, but about her career in general.

I reviewed the thriller (?) – Ramsay-style anyway – You Were Never Really Here, starring Joaquin Phoenix for Ebert. Loved it. Definitely check it out.

She has a new film out, Die My Love, with Jennifer Lawrence and Robert Pattinson as the leads, smaller roles played by LaKeith Stanfield, Sissy Spacek and one scene with Nick Nolte). The film is a fever-dream. I talked about it on Tuesday with a good friend, who despised it, so your mileage may vary, as mine does.

 
 
Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account. And I’ve launched a Substack, Sheila Variations 2.0, if you’d like to subscribe.

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