Phuong Le
@phuonghhle
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Editorial @mubi || Words @ Guardian, Sight & Sound, Film Comment, BBC, Indicator, Arrow Films 📩 phuonghhle @gmail .com
London, England
Joined March 2013
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Pinned Tweet
For
@mubinotebook
, I spoke with Sofia Coppola about the visual inspirations behind PRISCILLA, filmmaking déjà vu, and more!
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decision to slay
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The beautiful grave of Jacques Demy and Agnès Varda… Peep the potatoes!
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everyday I think about Ang Lee doing the motion capture for Hulk himself
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Butch Liberace versus diva Liberace in this BATMAN ep is top-tier television
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Watched Edward Yang’s TAIPEI STORY (1985) and I’ve found my dream style inspo for 2024.
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Angela Lansbury and her rainbow of costumes in THE HARVEY GIRLS (1946)
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My Lunar New Year mood is Tony Leung Chiu-wai singing while drinking a giant glass of beer
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the way Sean Connery keeps saying “conch chowder” in THUNDERBALL is killing me softly
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Amazing how orange soda always looks so irresistible in old Japanese movies.
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obsessed with how Shah Rukh Khan's tank tops get tinier and tinier with each passing year
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Just learned that Monica Vitti lent her name to a line of eyewear in the 1980s and now I desperately want a pair
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In AN ACTOR’S REVENGE (1963), the way Kon Ichikawa uses the kabuki stage to further stretch the scope of the widescreen format is so mind-blowing!
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I asked for the classic kleptomaniac-horsegirl-on-the-run manicure
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I saw FALLEN LEAVES in the cinema again and the pleasures have only multiplied. There’s such a sublime delicacy in how the films moves between characters’ close-ups and wide shots of Helsinki’s cityscape. Topography of loneliness. Topography of hope.
Aki Kaurismäki’s FALLEN LEAVES: bars that allow forlorn indoor smoking, sad-eyed guys adrift in a sea of Cold-War-core leather jackets, cinema is so back
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This little COLUMBO tribute is to say, I am now based in London! Editors, programmers, film mutuals, please feel free to reach out and I hope to meet up with some of you during LFF 🕵️♀️
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Living in Paris is crazy cause I’ll be seeing posters of Albert Serra’s PACIFICTION all over subway stations like it’s some kind of blockbuster.
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it’s a disease that whenever I hear the French national anthem I go “oh it’s the bop from Casablanca”
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100% swooning over the painterly compositions in Trần Anh Hùng’s delectable THE POT-AU-FEU, and am reminded that he used to work in the gift shop of the Musée d’Orsay, selling Monet calendars to tourists.
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Have not seen PAST LIVES but I love this spot-on opening paragraph in
@iantwang
’s astute piece, which keenly analyses the recent phenomenon of Asian immigrant lives being reduced to mere relatability points on screen.
For
@ArtReview_
I wrote a dissenting opinion on Past Lives, a film so insistent on making its characters relatable, decent and sympathetic that it forgets to make them into real people
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I really feel for Trần Anh Hùng considering how the brouhaha surrounding the CNC’s selection has turned THE TASTE OF THINGS into collateral damage. It’s bewildering that a filmmaker who won Best Director at Cannes is not even nominated in the same category at the César.
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Joan Crawford’s brilliant cameo in IT’S A GREAT FEELING (1949) where she pokes fun at her own star image and even spoofs her Oscar-winning role in MILDRED PIERCE (1945) continues to bring me joy
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SALTBURN… very bad editing, which is also why it’s a bad film about class. Just zero dialectical energy.
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Nick Cave held my hand and sang into my eyes tonight so I guess I’m religious now
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Full film with English subtitles is available here
Revisited a Vietnamese classic THE LITTLE GIRL OF HANOI (1974), which sees the horrors of Operation Linebacker II through the eyes of a 10-yr-old girl. This wordless, powerful sequence was shot among the real rubble of Kham Thien St., flattened by US bombing only 6 months prior.
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Monica Vitti's various neck accessories in Miklós Jancsó's THE PACIFIST (1970)🌹
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Have got quite obsessed with the ominous architecture of power seen in Francesco Rosi's eerie conspiracy thriller ILLUSTRIOUS CORPSES (1976). Politically charged spaces—police headquarters, courtrooms, resplendent private mansions—are all shot like tombs, menacing and lifeless...
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Cesar Romero's Joker successfully impersonating a cop while still wearing his entire villain regalia is cracking me up way too much. Gosh this show is amazing.
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Although I'm usually ambivalent about the CinemaScope format, as I'm bingeing Yasuzo Masumura movies, his eye for blocking just floors me every time. Each film is a new revelation!
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Just saw EL (1953) and wow Luis Buñuel was truly the king of cuckold/male humiliation cinema
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Bond's baby blue terrycloth romper in GOLDFINGER (1964)... hot girl summer
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I have complicated feelings about Godard, but his films have come to encompass my own relationship to cinephilia, which is a constant oscillation between total devotion and total alienation. Cinema is not dead, but it is the end of an era indeed.
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Hello movie lovers, we're looking for a film writer to join our London-based Editorial team
@mubi
! Follow the link for more details✍️
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it me!
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For
@Metrograph
, I wrote about my love for Tang Wei's uncanny ability to project that ineffable state of 𝑏𝑒𝑖𝑛𝑔 𝑙𝑜𝑜𝑘𝑒𝑑 𝑎𝑡, as well as the complex system of gazes that exists within Ang Lee's LUST, CAUTION (2007).
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Pretty obsessed with the crop of films about plastic surgery that came out in the postwar period... The Second Face (1950) // Stolen Face (1952) //The Mirror Has Two Faces (1958) // Eyes Without a Face (1960)
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I just saw ENTER THE DRAGON for the first time and the James-Bond-esque structure was such a cool surprise, right down to the villain’s little kitty. Bruce Lee’s ability to rock a three piece suit is very underrated.
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Aki Kaurismäki’s FALLEN LEAVES: bars that allow forlorn indoor smoking, sad-eyed guys adrift in a sea of Cold-War-core leather jackets, cinema is so back
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I am aw-ing at evil beatnik Donald Sutherland and cowgal Charlotte Rampling in this ep of THE AVENGERS
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damn Costa-Gavras's Z opens with the most badass non-disclaimer ever
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Nobuhiko Obayashi's THE DISCARNATES (1988), adapted from Taichi Yamada's novel STRANGERS.
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For
@NotebookMUBI
, I wrote on Trần Anh Hùng and Frederick Wiseman's culinary cinema, the stylistic antithesis to how the act and the art of cooking are usually portrayed in TV competitions and food documentaries.
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For the final edition of Cine Wanderer, I wrote about Coppola's gloriously "fake" Vegas in ONE FROM THE HEART. Huge thanks to the S&S team and to everyone who has followed my cinematic strolls. My 1st time as a magazine columnist was a blast and I hope this won't be the last.
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Nobuhiko Obayashi x Chopin. From HIS MOTORBIKE, HER ISLAND (1986) and LONELY HEART (1985).
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wow what a touching tribute to Jean-Luc Godard
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Reading an interview where Claude Chabrol was asked about the significance of food in his films and he went “it’s simple: if the characters don’t eat, they die.”
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Can’t stop thinking about Jennifer Connelly floating in and out of TOP GUN: MAVERICK with a perfect blow-dry and a dead-eyed smile at all times, like an Activia commercial materializing out of thin air.
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I was disturbed by the vitriol thrust on TASTE in France following its selection to represent the country over ANATOMY OF A FALL, with many deeming the film to be a safe, even nationalistic choice. With Trần Anh Hùng, however, the matter of cultural heritage is much more complex
For
@NotebookMUBI
, I wrote on Trần Anh Hùng and Frederick Wiseman's culinary cinema, the stylistic antithesis to how the act and the art of cooking are usually portrayed in TV competitions and food documentaries.
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In a film filled with virtuosic camerawork, there’s one particular long take in Phạm Thiên Ân’s INSIDE THE YELLOW COCOON SHELL that rivals the miraculous wonder of *that* final shot in Michelangelo Antonioni’s THE PASSENGER. Seek it out in a cinema if you can!
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Jean-Louis Trintignant! My favourite gentleman pervert (on film) is no more. I’m so very sad today…
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Apparently Peter O’Toole always carried in his wallet a scathing review of LAWRENCE OF ARABIA, which he dramatically read out to Dick Cavett in this interview
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Thinking about Lily Tomlin having “Jeanne Moreau damage” and freeze-framing herself irl
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Still enamoured with Colette's writing advice for Georges Simenon: "You have a beautiful sentence—cut it."
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My column in the latest
@SightSoundmag
is all about the underrated INTERLUDE (1957) and Douglas Sirk's cinematic return to Germany. It's a (doomed, of course) love ballad that also encapsulates Sirk's complicated relationship with his home country... Out on the stand now!
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The spectacular clocks of Fritz Lang's DR. MABUSE THE GAMBLER (1922), METROPOLIS (1927), SPIES (1928), and WOMAN IN THE MOON (1929).
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Dionne Warwick entering the stage via a gigantic cutout of her album cover is so iconic
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🎶 It’s my birthday and I can have a soufflé (for the first time) if I want to 🎶
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my new glasses + haircut have unleashed my inner Claude Rains
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Totally spellbound by Tapan Sinha's ghostly, atmospheric KSHUDHITA PASHAN (1960), marvelously adapted from a classic Rabindranath Tagore story. Always a pleasure to be reminded of Soumitra Chatterjee's ability to gaze at a woman, a worldly talent that rivals Tony Leung!
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me when Benoît Magimel asks Juliette Binoche if he could watch her eat
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just came across this incredible Japanese commercial starring James Brown and miso soup has never looked sexier
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Favorite nightclub sequences from some of my first viewings this year: Raj Kapoor’s SHREE 420 (1955), Han Hyeong-Mo’s MADAME FREEDOM (1956), Jules Dassin’s RIFIFI (1955), and Tulio Demicheli’s STRONGER THAN LOVE (1955).
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deeply concerned that I look like a Buckingham guard in this outfit
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Sharing my favorite video essay from
@PasqualeIannone
which beautifully highlights Monica Vitti’s (often overlooked) comedic ingenuity. From resplendent ennui to gleeful silliness, she really could do it all!
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For my column in the latest
@SightSoundmag
, I wrote about Andrzej Żuławski's feral SZAMANKA and its grimy depiction of 1990s Warsaw. Compared to POSSESSION, this film is on a whole other level of body horror, and perhaps in need of critical reappraisal.
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Seeing Milos Forman’s exquisite AMADEUS for the first time (also on 35mm!) has jolted me out of my end-of-year fog. Every single perfect cut just fully rewired my brain chemistry 💆♀️
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Completely besotted with Francisco Marco Chillet's exquisite set designs in Roberto Gavaldón's IN THE PALM OF YOUR HAND (1951)... Hopefully the restoration will be available on home releases soon.
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Revisited a Vietnamese classic THE LITTLE GIRL OF HANOI (1974), which sees the horrors of Operation Linebacker II through the eyes of a 10-yr-old girl. This wordless, powerful sequence was shot among the real rubble of Kham Thien St., flattened by US bombing only 6 months prior.
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For the latest issue of
@SightSoundmag
, I wrote about the resilient beauty of Vietnamese villages in Dang Nhat Minh’s WHEN THE TENTH MONTH COMES (1984), one of the finest films about war.
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