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Filming at the Mouth is a Miami-based film production studio & criticism website focused on highlighting cinematic achievements while bringing swift justice to cinematic failures. Additionally providing movie news, theoretical analysis, cinematography, photography and film recommendations with an emphasis on foreign and independent media.

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A work in progress experimental documentary film

2021 IN FILM

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Top Reviews

Disturbingly wholesome and blissfully deranged, Julia Ducournau’s Titane is an expectation obliterating view of a female serial killer’s journey through automobile copulation fused with the desire for family and human connection, inevitably revving up to a somehow heartwarming conclusion despite being the spawn of pure uncompromised derangement. From the opening moment our protagonist with a titanium cranium ‘throttles’ a fiery muscle car, Ducournau’s confident direction is on immediate display as she further establishes herself as one of the most innovative minds in the genre. Filled with themes of gender identity especially in relation to gestation that I’ve yet to fully unpack. A subversive and vile Hydra of a film, with so many heads all reliant upon eachother. I’ve yet to (and won’t) mention the biggest Cronenberg-esque kicker this film has to offer, but with such an intense narrative revolving around cars and family, Fast and Furious 10 has its work cut out. 9/10

The most unique & separating film of Edgar Wright’s filmography, much like Roman Polanski’s Repulsion (1965) Last Night in Soho at its core is a tragic fantasy-mystery through literal dreams, and the social exploitation of figurative dreams, using a POV lens to portray the anxieties of being female & alone in an idealized city (or anywhere), the stress of everyday life in a world where any man could be a woman’s next antagonist & all the small objectifying remarks and discomforting glances in between. For all of its fictional horror elements, Last Night in Soho is most terrifying at its most pragmatic. Less social commentary, more visual representation of how systemically uninhabitable & uncomfortable the world can often be for women. The first two acts absolutely transported and mesmerized me, (an hour in I thought this might be a 10/10) the third act had some spoon-fed aspects which felt like they trivialized some of the film’s themes but simultaneously served a satisfying conclusion. Can’t say much else without spoiling. With every film, Edgar Wright steps further out of his comfort zone and the craftsmanship here is simply on another level entirely, Last Night in Soho is visually astonishing, I had goosebumps even within my deepest darkest crevices. The way Wright innovates every genre he touches, always driven by music, is incredible. I was captivated for every moment. 9/10

The Green Knight

PARASITE (2019)

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POSSESSOR

Dune is a truly enormous film, both in narrative scope and literal scale of what is visually featured, an absolutely colossal experience in IMAX. As part one of Villeneuve’s planned trilogy, Dune 1 and its legacy will be shaped by and reliant on the two which follow it, unlike trilogy beginnings such as A New Hope or The Matrix which could stand on their own, it is instead The Fellowship of the Ring, completely at the mercy of its sequels. Villeneuve builds such a rich and immersive sci-fi universe here, for such a large scope it's smart to rarely veer away from its characters, some of which you want even more time to develop across these 155 minutes which completely fly by. The film’s beauty cannot be overstated by any stretch of the imagination, from fiery explosions larger than cities down to grains of glittery sand glistening as they slip between fingers, Dune is consistently stunning. Just as the LOTR films are often judged as a whole, Dune feels like just the first act (because it is) making it difficult to rate, uninterested in providing a climax as it prefers to build towards one, the following films will make or break it, and I’m sure my current rating will surely sway as well. 7/10

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