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Lawrence Garcia
@lawrencengarcia
Bylines at , , , , , etc. Email: lawrence.n.garcia at gmail dot com.
Vancouver, BClawrencegarcia.substack.comJoined May 2017

Lawrence Garcia’s Tweets

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Only a few years late, I wrote on Twin Peaks: The Return, attempting to do justice to its achievement. It's easily the longest, most considered thing I've ever written so, needless to say, I put a lot in it, so please give it a read/share/etc.
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Reposting this since the film is finally getting a theatrical screening today.
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Reviewed The Works and Days (of Tayoko Shiojiri in the Shiotani Basin), and got into some more general critical questions that I've been interested in as of late. In any case, the film is well worth engaging with. See it in a theatre if you can. twitter.com/reverse_shot/s…
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Fondly recalling when I rewatched Phoenix, gave it a middling rating on Letterboxd, then got DMs from three separate people asking me to explain myself. (I like Transit and Petzold's Dreileben movie.)
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Lecturing online tonight about PHOENIX, for me one of the only perfect narrative features of recent years.
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Question for those who've seen Saless' Still Life: Do you recall an odd discontinuity around the son's visit? In the copy I watched, the visit from the two men buying the carpet comes in between the son's arrival and the family's dinner together.
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For , I wrote on Bonello's very good, very discombobulating Coma.
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"In placing us so fully within the complexities of the COVID-era present, COMA reveals our very inability to unify it in thought." @lawrencengarcia on Bertrand Bonello's latest for #NYFF60. reverseshot.org/reviews/entry/
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(Also, apologies for all the plot description in the Walk Up review, but I've just seen one too many accounts of the film that don't acknowledge that anything strange at all happens, so it seemed worth drawing out. In any case, just beautifully structured.)
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In here on the superb new Hong (my favourite since Yourself and Yours) and Trenque Lauquen.
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.@TheNYFF day 2 & we've got 5 films today, most major recs: - #WalkUp & #TrenqueLauquen — @lawrencengarcia - #StarsAtNoon — @PatrickPreziosi - #SaintOmer — @igorfshman - #SlaughterhousesofModernity — @zwlws ^Follow link for ^these + all #NYFF60 reviews. inreviewonline.com/tag/nyff22/
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Thought for a while that Shinji Sômai's Kaza-hana was up to some really amazing play with chronology - first 40 minutes felt like Je t'aime, je t'aime - and I guess I'm still not fully inclined to take the road trip at face value. Not sure if others feel similarly.
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Good movie! See the film if you can.
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"The clarity of his images is matched only by the spectral force of the gaps between." We very highly recommend Ricky D'Ambrose's THE CATHEDRAL, opening this week. Here's @lawrencengarcia's interview with the filmmaker: reverseshot.org/interviews/ent
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This, but about NOBODY'S HERO. (Maybe not Guiraudie's best, but I don't get the tepid response. Very much in the vein of THE KING OF ESCAPE.)
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Given the fact that NYFF passed on PASSENGERS OF THE NIGHT, every one of those Main Slate pictures must be a goddamned masterpiece.
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Spoilers for THE PROWLER. I watched this with Josh. Please vindicate me by telling him this plot read is kinda nuts.
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Anyone out there seen Losey's THE PROWLER? I'm not insane for thinking Susan is not actually pregnant and the second half is a kind of reverse gaslight scenario, where she plays on the fear of women of the fairly explicitly queer coded Webb, right?
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Still turning it over, but it takes the basic logic of the conspiracy - that amid sets of natural relations (marks), there must nonetheless be readable signs/deviations (demarks) - to a daring formal extreme. Would make a perfect double-bill with The Birds, I think.
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