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I like slow cinema that focuses on micro changes in facial expressions, like watching birds fly across a landscape, like in Persona and Stalker. I also like slow cinema that plays a shot in live time, like Jeanne Dielman 23 quai du Commerce 1080 Bruxelles or ClĂŠo from 5 to 7
I like internal monologues a LOT. I adored the scene in Adaptation by Charlie Kaufman where he talks out loud about hating himself. The way there were twin brothers helped demonstrate how despite his self hatred he still felt himself better than his twin who was not artful
Similarly I adore visualizations of interiority!!!!! Anime is unrivaled in this. OMG the way there is a cartoon cowboy that is the manifestation of Watashi's horniness in Tatami Galaxyâ floored. The way Watashi is turned into shaky 2D blocks when he tries to ask Akashi out đ
I love surrealist depictions of perspective, too. In Taste of Tea, there is a train that rides out of the young boy's head when his crush leaves. There is a giant girl that accompanies the normal girl to school. Somehow all of these perfectly fitâ the train echoes a boner, the
I love films that depict IFS concepts/multiplicity of soulâ primarily I think of Inside Out, which shows emotions as individual characters with their own intentions and motives. They fight over the control panel and have real conflicts with each other.
I love films with prolonged conversations between two people. We watch them trade perspectives, or fall in love, or fall out of love. Before Sunset, Scenes from a Marriage, and My Dinner with Andre all do this wonderfully.
Some stories help a character massage out a psychic knot. It's done in Tatami Galaxy with Watashi getting over his avoidance, in Over the Garden Wall with Wort becoming a hero, and that one villain in My Hero Academia who finds a secure sense of self.
I like how Charlie Kaufman has these meta momentsâ In Adaptation, the twin insists on adding a satisfying action ending and the movie takes a dramatic turn. Synecdoche New York is entirely about playing with meta doubling of identity.
Similarly, there is the technique where the entire film takes a sickening turn where you realize the camera was also influencedâ most obviously in Shutter Island but also in I'm Thinking About Ending Things where you realize why everything was so fucking weird the whole time
I really like moments of beauty. The film pausesâ there is a totally unnecessary shot of long grass waving in the film, and you feel that this director takes time to appreciate beauty. I see this a lot in japanese movies: Taste of Tea, Studio Ghibli movies, etc