→ April 17, 2025
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The Girl with the Needle.

The Girl with the Needle was Denmark’s submission for this year’s Academy Award for Best International Feature Film, making the final cut to be among the five nominees even though it presents real-life serial killer Dagmar Overbye, who took payments from desperate women to adopt out their babies, only to murder the infants instead, in a somewhat sympathetic light. It’s dark, strange, and extremely creepy, playing out like a horror film where the main character is never truly in danger herself. (It’s streaming free for Mubi subscribers, or you can rent it on iTunes, Amazon, etc.)

Karoline (Vic Carmen Sonne) is a garment-factory worker in Denmark during World War I, married to a soldier who she presumes is dead, as there’s been no word from him in a year. She’s evicted from her rooms when the film opens, but when goes to her boss to try to get help obtaining widow’s benefits, he takes advantage of her and she becomes pregnant. Her husband returns from the war, disfigured from battle, and she sends him away because she believes she’s going to marry her boss. He reneges, of course, and she loses her job, after which she tries to perform an abortion on herself with a giant needle while in a public bath, only to have Dagmar (Trine Dyrholm) stop her and potentially save her life. Karoline has the baby with Dagmar’s help, at another job the older woman helped her find, and she pays Dagmar to give the baby to another family; when she can’t pay all of what she owes, she goes to work in Dagmar’s candy shop and helps convince other women to give their babies up as well, until she becomes suspicious that Dagmar isn’t what she seems.

The story itself is sort of beside the point; Dagmar is a real person, apparently quite infamous in Denmark as the serial killer with the most known victims in the country’s history, so clearly the film will end somehow with her arrest. Instead, director and co-writer Magnus van Horn focuses on the relationship between the two women, telling the New York Times that he chose to find “finding the humanity in these horrible deeds,” which is a bold strategy, given what Dagmar was doing. (There’s no direct violence in the film; the only murder that takes place on the screen is hidden from our and Karoline’s view.) That choice means that the film can only succeed or fail on the quality of the script and of the two lead performances.

The two women, both decorated actors in Denmark, deliver strong, compelling performances, particularly Dyrholm, who can be completely terrifying but also capable of surprising, often sudden bouts of empathy. The script depicts her murders as the result of a nihilistic view of the world, where in her mind these babies would go on to lives of suffering, poverty, and abuse, and a belief that she is actually helping the women she’s conning. (I couldn’t find any evidence that the real Dagmar Overbye was like this; her defense at trial was that she was abused as a child as well.) She’s initially cold to Karoline, helping her in some tangible, discrete ways, before eventually taking her in and bonding with the younger woman, as does Dagmar’s young daughter, Erena.

Van Horn lays the atmosphere on a bit thickly, however, and it ends up diminishing the film by going too far. The entire film is shot in black and white, and the streets are filthy – sooty, muddy, diseased, anything you can think of to increase the sense of bleakness and despair. The beginning resembles a misery-porn remix of Fantine’s story in Les Misérables, to a predictable level, until Karoline attempts the abortion, after which the story becomes something new and much more interesting; the first third or so of the movie is nothing you haven’t seen before. It needs Dagmar’s character to at least give us something new, even if it’s shocking; because Dyrholm plays her as someone who appears to exist on both sides of the edge of madness, the moment she arrives in the film the pace picks up, while it also allows us to get away from a story that keeps kicking Karoline in the teeth. Two hours of that would have been unbearable. Once the real plot begins, it’s still dark and unsparing, but a far more intriguing story, and a better watch due to the two strong leads.

(I still haven’t seen the winner of the Best International Film category, the Brazilian film I’m Still Here, but it’s loaded up for my next flight; of the other four, I’d put this second, behind the German submission The Seed of the Sacred Fig.)

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→ April 15, 2025
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Raleigh-Durham eats, 2025 edition.

I had one of the best meals of my life in Raleigh last week, so much so that I opened up my Notes app and started writing down every restaurant that made me say the same thing, ending up with about 15 of them (which will eventually become a post here) of which I could remember the names and the meals. This dinner came at Figulina, an Italian restaurant that focuses on fresh pastas and a lot of traditional ingredients, while the recipes run the gamut from the very traditional (a straight pasta alla carbonara with guanciale, the ideal cured pork for that dish) to the modern. Chef-owner David Ellis was previously chef de cuisine at Ashley Christensen’s Poole’s Diner, located just a few blocks away. Every single thing I ate was superb, the cocktails were also outstanding, and the service was just exemplary across the board. I even thought about going back a second time on this trip to try more things before I realized that was a little silly and also I didn’t have time.

I ordered a little out of my usual comfort zone because I figured this was a rare chance to try some things I don’t eat often or even see much on menus. For a starter, I had the salt cod tartine, and if you gave me two of those it would be the most divine and complete lunch. I like baccalà, the dried salt cod pioneered by Basque sailors and still popular across southern Europe, although I had to acquire the taste. This dish mixes the salt cod, which is rinsed and prepared to remove the preserving salt and reduce the fishiness of the flavor, with artichoke leaves, parsley, onion, some extremely good olive oil, and a light touch of vinegar and serves the combination on a thick slice of crusty bread from nearby Boulted Bread. It was bright and balanced, with the cod present in the flavor but not overwhelming with its saltiness. I’ve had salt cod a few ways, but never like this, and actually never in a cold preparation that I liked.

For my main, I had the cappelletti with gorgonzola dolce, served with walnut pesto, fig mostarda, and fresh rosemary. I don’t care for blue cheese in general, not on principle but because I have never become accustomed to the signature flavor of those cheeses, which my palate (and my nose) will forever interpret as “spoiled.” My bartender assured me that the filling of their pasta was a mixture of house-made ricotta and gorgonzola dolce, and that the blue cheese flavor is subtle because there is so much else going on in the dish. (I also knew that if I was ever going to like or tolerate a blue cheese, it was probably gorgonzola dolce; dolce means sweet, and this cheese is aged far less than most blue cheeses, so it’s nowhere near as pungent.) I took the leap of faith and followed his advice to try to get every element in each bite – one of the little hats of pasta, a good bit of the walnut sauce, and some of the dollops of fig mostarda. He was right about everything; I’m struggling to describe the overall flavor because it contained such a broad array of different flavors and notes that worked together so that, no, you don’t get a big hit of blue cheese or of the vinegar in the mostarda. The best comparison I can offer is the perfect cheese board, where you pair a creamy young cheese with a fruit paste and some toasted nuts, but with the glory of fresh pasta involved too. And rosemary. Their menu changes often but I hope this one sticks around for the season.

I have largely been skipping dessert while traveling because I just don’t need it or even crave it like I used to, but given how good the first two items were, I had to give it a look. They had three desserts, one of which held no interest for me and the other contained an ingredient that I’ve had an allergic reaction to twice (although I’m not sure it was the culprit), so I settled on the Bakewell tart, a very not-Italian dessert that I only know because my wife has made it a few times. Figulina’s version was traditional, and rich, so much so that I had just half and … uh … had the rest with lunch the next day. I think it was less sweet than others I’ve had, but I’ve found that’s typical in a lot of fine-dining desserts.

Then there were the cocktails … I told the bartender that I enjoy a Negroni, but that I saw they had an extensive collection of amari (potable bitters, like Montenegro and Cynar), so would he be interested in concocting a negroni-like drink for me? I’ve done this now and then at bars and always get a good response, plus I get to try new things. He did, and it was good … but the better drink was their Escape from Manhattan, containing barrel-aged Conniption gin, Mancino rosso sweet vermouth, and Cardamaro. Cardamaro is a cardoon-based amaro, similar to Cynar but less artichokey; the Conniption gin is 94 proof and is aged ten months in bourbon barrels, although to be honest I’m not sure that last bit is a good thing in gin. Anyway, it was sort of a cross between a Negroni and a Manhattan, but better, less sweet than either drink, with some nice bitter notes and a strong base of herbal flavors. (I’m pretty sure he used Cardamaro in the Negroni riff he made for me as well.)

Anything beyond that will probably seem a bit anticlimactic, I suppose. The second-best meal I had was actually tacos from a gas station in Cary – Taqueria La Esquina, which runs a decent-sized kitchen in a Shell station. I tried their pork al pastor and chicken, which both come with cilantro and grilled onions, with the pork the better of the two; both were good but the chicken was a little dry, while the pork retained its moisture and generally had more flavor to it, although neither was spicy at all. Their menu runs a little heavy on red meat, so it’s not ideal for me (I don’t eat beef at all).

I found them because they were just up the street from Milos, a little coffee shop that has just ordinary espresso drinks with Illy beans but offers single-origin pour-overs from different roasters. I’m still a big fan of Jubala over in Raleigh, but Milos is closer to the USA Baseball Complex, which is often where I’m headed anyway.

Located right in downtown Durham, Bar Virgile does classic cocktails and a simple gastropub menu. They do a classic daiquiri, just rum, lime, and simple syrup, which isn’t hard to make but which I think has lost its luster because of fruity, blended nonsense that has appropriated the name. Hemingway liked them, and I don’t think he was sitting poolside with a giant glass of slushy mango juice and rum. Anyway, I don’t know why I ordered fish and chips when I was kind of feeling like getting something light, but it was the right choice – Bar Virgile’s version has just a light breading, and the cod could not have been more perfectly cooked, enough so that I ended up eating most of it with a fork because I couldn’t pick it up. I was having dinner with my friend from middle school, and after we went across the foyer to their cocktail bar, Annexe, where I had a drink called the Lazy Monk that was clearly their twist on a Last Word, using gin, génépy, Luxardo maraschino, lime, and a rosemary-thyme simple syrup. With green Chartreuse becoming hard to find, everyone’s looking for alternatives – Luxardo has one called Del Santo that gets good reviews from folks who use it in a Last Word – and this was a great twist, with the syrup bringing herbal notes to the front but not enough to throw off the drink and make it too sweet. It’s not a Last Word, which is one of my favorite cocktails ever, but it’s damn good. I got to Durham a little early after an aborted attempt to go to Blacksburg (the game was rained out about 90 minutes into my drive), and parked at Yonder Coffee, located inside The Daily, to have some tea and sit for a little bit. They have a credible selection of teas available, including hojicha, my favorite green tea – the leaves are roasted, so it’s less grassy than most green teas.

I tried Big Dom’s Bagel Shop, which is only open Wednesday through Sunday, and then only until they sell out. The everything bagel was covered with seeds and salt, and it had the right consistency in the center and enough chew to the crust. I ordered an egg sandwich, and the eggs came in one of those pre-cooked blocks of scrambled eggs, which, fine, I’m here for the bagels, but I feel like a good bagel deserves better than that.

One Blacksburg restaurant to mention – Café Mekong, a pan-Asian spot in a strip mall a little south of downtown. They clearly do a thriving take-out business, although their handful of tables were full the whole time I was there. The papaya salad was standard-issue, just average, but their Singapore noodles were a 55.

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→ April 11, 2025
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Nosferatu.

I came into Robert Eggers’s Nosferatu knowing relatively little of the lore behind the story; I’ve read Bram Stoker’s Dracula, but had never seen any adaptation of it, not even the 1922 silent film of which this is a remake. It’s about as spot-on a gothic horror film as I’ve seen … maybe ever, really, with sound effects that will curdle your soul and a strong-as-always performance from Nicholas Hoult as the tragic real estate agent Thomas Hutter. (You can stream it free on Peacock or rent it on iTunes, Amazon, etc.)

Eggers’s screenplay adheres closely to the 1922 story, which changed several substantial elements of the Stoker novel, altering some major plot events and making the story darker and more violent while removing much of the sexual subtext in favor of more physical horror. Hutter is a young, ambitious real estate agent whose wife, Ellen (Lily-Rose Depp) has a psychic connection to the monster Nosferatu, who poses as the Romanian Count Orlok (Bill Skarsgård) and demands that Hutter visit him to sign the contract for Orlok to purchase an estate in Wisburg, where the Hutters live. Thomas has no idea of the grip the vampire has on his wife, other than that she has intensely realistic dreams and a history of sleepwalking and seizures, but he is terrified by Orlok and realizes that he’s some sort of undead or otherwise unnatural creature during his brief stay at the castle. Upon his return home, he finds that bubonic plague is spreading through Wisburg, along with a huge number of rats, but the occultist Prof. Von Franz (Willem Dafoe) sees that this is not a medical disease but a spiritual one and leads the effort to find Orlok and kill him once and for all to save Ellen and the surviving townspeople.

The story is somewhat beside the point in Nosferatu and even in Dracula, as neither even has a real protagonist; the main character is the vampire, and he’s off screen (or page) for large portions of both works. He is everpresent, often working through his acolyte Knock (Simon McBurney) or just spreading fear because we know he’s coming for Ellen and know of the destruction he’ll wreak when he arrives. It’s all atmosphere, amplified by the way Eggers always shows Orlok in shadow, or from the back, so that we very rarely see him clearly until his final scenes in the film, when we see just what a deformed monster he has become; we hear Orlok much more than we see him, with Skarsgård speaking in a slow, guttural, overenunciated accent that sounds like he’s moonlighting (pun intended) from his job as the lead singer for a melodic death metal band from Gothenburg.

Most of the best scenes in the film don’t involve Skarsgård at all, though; he’s scarier when we don’t know when he’s coming or what he’s up to. McBurney is just as horrific, because he is utterly insane; we know what the vampire is doing, but Knock is unpredictable and his violence is all the more shocking for it. (He’s the equivalent to Renfield from Stoker’s novel, but here Knock is Hutter’s boss and appears at first to be a mild-mannered real estate man, more like an accountant or a barrister than the asylum inmate that Renfield is when he first appears in the book.) Rose-Depp’s main function in the movie is to appear terrified, which she does well, as she’s the only character who understands all along what the true nature of the threat is. For most of the film nobody believes her, including her best friend Anna (Emma Corrin, underutilized here), except for Dr. Von Franz, the man everyone else thinks is a crank, further underscoring Ellen’s terror – she knows he’s coming, she knows she is inextricably bound to him, and everyone thinks she’s a hysterical woman.

Nosferatu sounds great, by which I mean it sounds absolutely awful, especially if you watch it with headphones. You may never want to eat again after hearing this movie. I would imagine sales of black pudding plummeted after this film hit theatres. Some of this is obvious – you wouldn’t expect any less from a scene where a vampire feeds on a victim – but even when Hutter is eating dinner at Orlok’s castle, every bite or sip feels like a menace. It’s a crime that this film, which was nominated for four Academy Awards, didn’t get anything for sound; three of the five nominees in that category went to musicals or films about music, which seems to exclude films that rely on other forms of sound, which Nosferatu did more than almost any other movie in 2024.

Hoult is excellent here, as he is in pretty much everything, although even his character isn’t that well-developed, and the acting as a whole is probably the one weak point of the film. Ellen is a damsel in distress who only develops any sort of agency at the very end of the film, so Rose-Depp doesn’t have a lot to do, and spends most of her time on screen looking terrorized (with reason) but not doing much else. Dafoe seems like an obvious choice for a mad scientist, but that works against him here – he is so obviously Willem Dafoe, and is the only actor who doesn’t really do a proper accent for his character, that he isn’t terribly convincing as a character whose main job is to convince everyone, us included, that he isn’t mad. It’s also not a film that depends on the performances to work its dark magic, as Eggers creates such a bleak, foreboding atmosphere, and then layers increasing degrees of shocking violence on top of it, that it works extremely well throughout without getting as much from its actors as it might have. I’ve got one more major 2024 release to see, but this is easily in my top 5 from last year.

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→ April 10, 2025
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Transcendent Kingdom.

I read Yaa Gyasi’s debut novel Homegoing a little over three years ago, because my daughter had been assigned it in her high school English class and said it was good but “grim.” I thought it was marvelous, and also grim, but beautifully crafted with a series of compelling characters through the time-shifting narrative.

Her second and still most recent novel, Transcendent Kingdom, has a far more conventional structure and is built around a single family of four, only two members of which, the daughter Gifty and her mother, are still around in the present day, although we don’t learn immediately where her brother Nana and father are or if they’re even still alive. Gifty is a graduate student in neuroscience at Stanford, while her mother, a Ghanaian immigrant, lives alone in Alabama; Gifty gets a call that her mother has taken to her bed in a severe bout of depression, so she brings her mother to California to take care of her. We learn that this isn’t her mother’s first such episode, and the recollection brings us the story of Gifty’s father, brother, and how Gifty turned away from the devout Christianity of her childhood and towards the science she hoped would explain everything that religion couldn’t answer.

This isn’t a huge spoiler, since it’s mentioned on the back of the book, but if you want to know nothing stop reading here … Nana died of a heroin overdose after a doctor gave him Oxycontin for an ankle injury Nana suffered playing basketball. Gifty wants to learn about the neuroscience of addiction, to understand why someone would be unable to stop when they know it’s hurting them, killing them, and hurting everyone who cares about them. She was about eight years younger than her brother, and watching him go from a lively, popular kid who seemed to be going places to a zonked-out addict, and a thief, and worse has shaped huge swaths of the last eighteen years of her life. It forced her to grow up and take more charge in the house than someone her age should have to do, it broke her faith in God (but not her mother’s), and it turned her inwards, especially when it came to talking to anyone outside of her family about her brother – or even that she had one.

As someone who grew up with religion, devout perhaps in my blind belief but not exactly in practice, but who is secular now, I found particular resonance in Gyasi’s descriptions of Gifty now, knowing something is gone and won’t return, but that there is no regaining it. Religion serves a purpose for many people, and often becomes a core part of one’s identity, but if you lose your faith, as Gifty does and as I did, you can’t simply go to the God store and buy a new one. Once you realize it’s not true, the spell is forever broken. That absence is real, and you may grieve for all that once was, from your belief in a benevolent God to the hope of an afterlife to the fact that so many adults told you these things were true when they’re not. (I recognize not everyone shares my nonbelief, of course.)

Beyond the question of religiosity, Transcendent Kingdom functions as a different sort of coming-of-age novel: The protagonist loses her innocence about the world, and then spends the next eighteen years following one narrow path that she believes will help her make sense of it. Her mother returning to the isolation of her bed and near-total silence bookends the period of Gifty’s quest for an answer to everything, from why Nana fell so quickly into addiction and death to why their mother is so prone to these severe depressive episodes. Faith couldn’t answer these questions, so why can’t science? This structure also allows Gyasi to retell parts of Gifty’s story that don’t involve Nana or their mother, including her time at a certain college in the Boston area and her tenuous relationships with people around her at Stanford. The novel puts Gifty together piece by piece in front of us, jumping back and forth in time to show how she got to this point of a sort of crisis of unfaith.

It’s hard to avoid judging Transcendent Kingdom by the standard of its predecessor, which was a completely different sort of book and wowed with its structure and scope. This is a small novel about a big character, and it doesn’t cast the same sort of spell that Homegoing did. It’s just different, but still has Gyasi’s easy, thoughtful voice, and shows her developing a single character to a much greater extent than she could possibly have done in Homegoing’s staccato stories.

Next up: About to finish Naomi Novik’s Uprooted.

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→ April 9, 2025
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Nashville and Knoxville eats, 2025 edition.

The last two weekends saw me head to two different spots in Tennessee, so here’s my food roundup, starting with Nashville…

Rozé Pony is an all-day restaurant, café, and bar maybe ten minutes southwest of downtown Nashville, and it was packed with day-drinkers when I was there, including one very large party there for some sort of celebration. I had just come from Florida, where eating reasonably healthy food is a challenge, so I ordered a fish sandwich with a side salad. The sandwich was called, unfortunately, the sloppy salmon. (They can’t stop you from ordering a glass of water.) It was tremendous, with salsa negra, a lemon mayo (aioli, whatever), and charred or roasted peppers. It was pretty sloppy to eat, but I inhaled the thing, and the leaves in the salad looked and tasted extremely fresh.

Maiz de la Vida is a food truck turned high-end Mexican restaurant in the South Gulch neighborhood; what I had was very good, but I really wish 1) I’d ordered differently and 2) I could have tried some of their cocktails, but I never drink before games, obviously. I tried the chips with three salsas at my server’s recommendation, and two of the three salsas were excellent, especially the salsa norteña with habaneros; the chips were house-made, but some were too thick or just otherwise greasy and not that pleasant to eat. The duck breast in mole was outstanding, perfectly cooked, with a rich, smoky, just faintly spicy mole negro, served on a very small bed of diced sweet potatoes with a dry cracker made from egg whites and sesame seeds. On its own, it is delicious, but the dish needs something else besides the meat – I expected more vegetables/starch on the side of it, and had no idea that’s all I was getting, or I would have ordered something else. It’s not how I prefer to eat, and because of my metabolic disorder it’s not great for me to eat a meal that’s very high in protein relative to everything else, so it’s a me problem, not a Maiz problem. I’ll go back, after a game, and I’ll order a bunch of different things.

Little Hats pitches itself as an Italian market & deli, and they do have the dry goods you’d expect, but the sandwich I got was all wrong. They have a prosciutto, fresh mozzarella, tomato, and basil sandwich, a combo I usually can’t resist, as it’s basically a caprese salad on bread with a slice or two of prosciutto crudo, which adds salt and fat to the equation. Little Hats’ version treats the prosciutto like it’s deli ham, stacking it over a half-inch thick, so it overpowers everything else on the sandwich, and it’s also really tough. Prosciutto crudo, which is cured for months and never cooked, is sliced extremely thinly because the extensive dehydration from the curing makes it tough to chew if it’s thicker. I couldn’t even finish this, which seemed criminal.

I resisted the urge to go to Barista Parlor as I usually do, meeting a colleague at Steadfast Coffee instead; it’s a local roastery that appears to be mostly wholesale business (at least based on their site), and unusual for a third-wave (or -adjacent) shop in that they offered free refills on drip coffee. Unfortunately, I didn’t write down what blend they used that day, but it was pretty balanced, medium-bodied trending towards the lighter end, without any really distinctive notes.

Attaboy is a second outpost of the speakeasy-ish cocktail bar of the same name in Manhattan, founded by Sam Ross, creator of the paper plane and penicillin cocktails; and Michael McIlroy, creator of the greenpoint cocktail. You have to knock on the door and someone will take you in if there’s room, although there’s no secret password required. The bar has no menu; your bartender will ask what sort of spirits or drinks you like and will make or create something for you. I had two different bartenders and tried two different drinks. The first was a rum-based drink with an amaro that was like Averna, but not actually Averna, and the drink ended up a little too sweet for me. The second was a riff on the last word, one of my absolute favorite cocktails, called a Wordsmith, made with rum rather than gin, and in this case using an aperitivo called Doladira that has rhubarb in place of the green Chartreuse. I’d drink that every day until my liver gave out.

The following weekend found me in Knoxville, where I got to walk around downtown for the first time even though I’d been there twice before. It’s a great and booming downtown core, with quite a few restaurants, a ton of coffee shops (I counted six within a two-block area, I think), and bars.

Kaizen was on Eater’s list of the dozen best restaurants in Knoxville, but it was really disappointing. The menu is great, and I ordered three items since I hadn’t had lunch while traveling, but the best of the three was actually the salad: arugula, beets, carrots, a soft-boiled egg, with a sesame-ginger dressing. I tried one of their steamed buns ($3.50 a pop), with fried chicken, but it was really chewy, and the kimchi smeared on it didn’t add any flavor at all. The duck leg fried rice seemed so promising, with duck confit deep-fried till crispy, an over-medium egg, and the rice, but the rice was DOA with the cause of death drowning by soy sauce, and they fried the duck for too long so it started to dry out. Great concept, poor execution.

Stir is an all-day restaurant, at least on the weekends, and their brunch came recommended by multiple people. I’m definitely less adventurous first thing in the morning, but also, seeing Waffle Houses everywhere made me just want a waffle, and not one from a Waffle House (or, worse, a hotel lobby one). Stir’s are good, clearly just made, pretty tender, although it’s odd that it came with the syrup already on it. I got the version with eggs and potatoes, rather than the version with fried chicken, and the over-medium eggs were spot on. The potatoes were nicely crisped but could have used more salt.

For coffee, I hit up Awaken, which is also downtown, around the corner from Kaizen and Stir. They use coffee from Quills in Louisville, a good roaster albeit not my favorite up there (that’s Sunergos). Cute space, solid espresso, credit to the barista for asking if I liked more foam in my macchiato (it was just right).

I stopped at The Vault, a cocktail bar downstairs from the restaurant Vida, where I’d eaten last year, and ordered a Last Word … and that was enough for one night, as it was larger than I expected and a second might have knocked me out. Their house versions of classics all contain too many extra ingredients, though; you don’t have to modify the Negroni or the Manhattan with three more spirits, they’re classics for a reason. It’s a cool space and I was disappointed it wasn’t busier on a Saturday night, when you’d think more people would be out and might appreciate a higher-end place to drink.

I also returned to A Dopo Sourdough Pizza, since I loved it last year; I changed it up a little, going with their “rucchetta” pizza, with arugula and Parmiggiano-Reggiano on a margherita, and added prosciutto crudo. Believe it or not, there was way too much Parmiggiano on it to the point that I scooped some off with my fork because I couldn’t taste anything else. It may be the king of all cheeses, but it’s also basically a salt-fat-umami bomb, and I could barely make out the other flavors. It’s such an odd thing to do because that’s such an expensive ingredient, too. The dough was outstanding, though. I skipped the gelato this year, as I’ve kind of been off desserts while traveling now.

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→ April 8, 2025
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The Brutalist.

Brady Corbet’s The Brutalist is a vast, sweeping character study rich with detail and allegory, powered by a tremendous (and Oscar-winning) performance by Adrien Brody as the title character, memorable and meticulous scenery, and one of the strongest scores of the year. It’s also far too often a slog, running three and a half hours, with too much inconsistency in the pacing and the level of specificity from scene to scene. (You can rent it now on iTunes, Amazon, etc.)

Brody plays László Tóth, a Bauhaus-trained architect in Hungary before World War II who is sent to the concentration camp in Buchenwald by the Nazis, while his wife Erzsébet (Felicity Jones) and his niece Zsófia (Raffey Cassidy) are sent to Dachau. Tóth survives the camp and immigrates the United States, where he works in his cousin Attila’s furniture store, although Attila’s Catholic wife clearly doesn’t approve. Attila lands a major renovation project for Harry Van Buren (Joe Alwyn) as a surprise for his father, the wealthy Carnegie-esque Harrison Van Buren (Guy Pearce), putting Tóth in charge. Tóth’s designs transform the library space, but Van Buren is enraged that his son made these plans without him, firing the contractors and refusing to pay. Attila kicks László out, which leads to him working as a manual laborer and living in a charity workhouse, while his previous use of morphine has devolved into a heroin addiction. Tóth’s design for the library ends up earning so much praise that Van Buren tracks him down and hires him for a major new project … and that’s all before the intermission, before Erszébet and Zsófia make it to the United States, before the stresses of the project and the exacting (and conflicting) standards of the two men begin to clash.

The Brutalist is a biopic of a fictional character, much like 2022’s Tár, that feels so specific that it’s easy to forget that Lázsló Tóth never existed. Brody is as good as ever – and I’d argue he’s always good, even in small roles like in Grand Budapest Hotel or Midnight in Paris – as the complex, tortured genius, who has some of the expected art-over-commerce philosophy, but also carries the weight of the trauma of his time in Buchenwald, his long separation from his wife, and his flight to a culture that is deeply foreign to him and that faces him with both its xenophobia and its antisemitism. Even in some of the film’s least believable scenes, his portrayal never wavers in the least, and he carries huge portions of the overlong script by himself.

The padding in The Brutalist is all around the edges, rather than entire scenes that needed to go (although the first scene of the Tóths in bed after their reunion probably could have been left on the cutting room floor). There’s a brief shot of László and some workers carrying a model of the community center he’s building for Van Buren up a flight of stairs into the mansion, probably lasting ten or fifteen seconds; the scene adds nothing, and there are tiny moments like that throughout the film that add up to make the film feel too long. Corbet, who directed and co-wrote the film, has a pace-of-play problem. It’s like he hired James Murphy as his editor.

Jones is somewhat lost here in a bad haircut and overdone accent, although the real problem is that her character barely exists outside of László’s orbit until her very last scene, when she acquires a force and gravity we haven’t seen before, underscored by the character’s infirmity and Jones’s own petite stature. (She’s nearly a foot shorter than Brody.) The movie isn’t about her, of course, but her absence is a huge shadow cast over the first half of the film, with László grieving the possibility of her death and then finding out she’s alive but can’t emigrate legally to join him, making the incomplete development of her character in the second half more obvious.

That’s generally a problem with the plot as a whole: the first half is itself a whole movie, and the second half isn’t. It’s the shell of a movie, but tries to pack in too much while giving it a similar level of detail, and that makes for irregular pacing and some portions that were just outright boring. There are also two sexual assault scenes, one entirely implied, one on-screen but shot from a distance, and neither is handled well – the first one is just dropped entirely, and the second has absolutely nothing to foreshadow it, making it seem like either a clumsy attempt at metaphor or just a very cheap plot contrivance to set up the denouement. After thinking about it what broader points Corbet and his co-writer Mona Fastvold might have been trying to make, I’m leaning towards the metaphor argument: A huge theme in The Brutalist is how inhospitable Tóth finds the United States, a country that, then and now, has held great hostility towards people from just about any other country, and has a very long and shameful history of antisemitism that still exists today. The assault is an act of degradation and dehumanization, emphasized by his assailant’s taunts during the attack. I don’t think the scene fits in the least in the film, but that’s the best I’ve been able to make sense of it.

The Brutalist is a proper epic, an ambitious film that tries to do more than almost any film I’ve seen in the last few years; the closest parallel I could think of was 2018’s Never Look Away, another long film covering a huge portion of an artist’s life, although even that one doesn’t try to tackle the giant themes Corbet and Fastvold cover here. Brody’s performance is remarkable – and I didn’t even mention how great some of his suits are, which would be useful information for me if I weren’t half his size – and the film looks like it should have cost as much as a Marvel movie. I’m holding it to a higher standard primarily because it’s over 200 minutes long, and if you’re going to ask that of your audience, you need to earn their attention repeatedly. I’m not entirely sure The Brutalist does that; even so, it’s a film to laud in the hopes it inspires more big swings just like it.

The Brutalist earned ten nominations at this year’s Oscars and won three, for Brody as Best Actor, for Lol Crawley for Best Cinematography, and for Daniel Blumberg for Best Original Score, deserving of all three of them. (I’ll note that 1) Tim Grierson pointed out to me that Blumberg was briefly the lead singer & guitarist for a British band called Yuck, and 2) the strongest competitors for those last two awards weren’t nominated, Nickel Boys for Cinematography and Challengers for Original Score.) Pearce is strong as Van Buren and certainly has enough to do that he was worthy of a nomination for Best Supporting Actor, but Jones’s character isn’t that well-written and her performance within it is one of the film’s weak points; I would have much preferred to see her Best Supporting Actress nomination go to Julianne Moore for The Room Next Door. I have The Brutalist in my top ten for the year, with probably just one more worthy film to go (I’m Still Here), but I wouldn’t have picked it over Anora for Best Picture.

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→ April 7, 2025
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A Sorceress Comes to Call.

T. Kingfisher won the 2023 Hugo Award for Best Novel for Nettle and Bone, a dark fantasy novel with an indelible main character and outstanding prose, using the fantasy trappings in the setting rather than relying on them to drive the plot (or in lieu of one). Her latest novel, A Sorceress Comes to Call, has been nominated for this year’s Nebula Award for Best Novel, and it features more compelling characters and strong writing, although this time around Kingfisher leans more into the magic aspects of the story and it’s not always to the book’s benefit.

Cordelia is a 14-year-old girl who lives with her mother, Evangeline, a sorceress and a generally awful human, a clear Mother Gothel figure who uses her powers to leech money from men and to keep Cordelia in line – making her Obedient, where Evangeline can completely control Cordelia’s every action and word, while Cordelia is locked in and able to see everything that she’s doing and saying. Evangeline’s most recent “benefactor” appears to be done with her, so she takes her vengeance and sets off in search of new prey. She ends up ensnaring the Squire, whose sister, Hester, sees right away that Evangeline is bad news – referring to the woman as Doom in her thoughts – and eventually realizes that Cordelia is her mother’s prisoner, not her accomplice. The two must work together to try to stop Evangeline from marrying the Squire and casting Hester and all the servants out, and at the same time to free Cordelia from bondage, while, of course, Evangeline is not one to take opposition lightly and lashes out in violent ways.

Kingfisher is a hell of a storyteller; even when Sorceress started to veer more into using magic to resolve major plot points, she never lets her foot off the gas, and almost every plot twist is both well-earned and ratchets up the tension significantly. Cordelia’s a little bit of a cipher as a character because she’s so beaten down by her mother’s iron grip that she hasn’t had a chance to develop much as a person, so Hester ends up the real heroine, and she’s a star. She needs her own series of mysteries or something similar, because she’s rich and complex, smart but not unreasonably so, a little funny, a lot self-deprecating, and torn between her romantic inclinations and her fierce desire to maintain her independence. This becomes her story more than Cordelia’s by her force of personality, and watching her think and work through the problem of Doom is every bit as compelling as reading a classic Agatha Christie novel.

Where Sorceress loses a little bit relative to Nettle and Bone is in how much it relies on magic to resolve the major conflicts of the story, and how Kingfisher does so. After one of the big plot twists, an entirely new paranormal thing happens that hadn’t been introduced or even implied previously in the story, and it is critical in the ultimate plan to defeat Doom forever. That plan also requires the use of a ritual that doesn’t rely enough on the ingenuity or strength of the characters; they just have to get Doom in the right place and say some words and poof, which reminded me of that insipid show Charmed. That ritual follows a long stretch of time within the book where Hester, Cordelia, and some of their allies spend days poring through books looking for the solution, which is the only part of the book where the plot slows down.

Kingfisher does eventually stick the landing here once you get past the magical hand-waving that gets us to the climactic battle, with an incredibly tense series of scenes through the fight itself and a balanced epilogue that treats both of the protagonists fairly and in ways that are true to their characters. I’m hoping we see Hester again somewhere, as she’s a marvelous creation and too good to waste on just a single book. Kingfisher has said in interviews that she was inspired to write this by reading Regency romances, so perhaps she’ll decide to continue in that vein and bring Hester back for another go.

Next up: I’ve just finished Yaa Gyasi’s Transcendent Kingdom and begun Naomi Novik’s Uprooted, the latter the winner of the 2015 Nebula Award for Best Novel.

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→ April 5, 2025
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Stick to baseball, 4/5/25.

One piece from me this week at the Athletic, but it’s a long ’un, as I rounded up all of the draft prospects I’d seen in the previous three weeks, covering Arkansas/Vandy, Arizona State, and high school prospects from Arizona, Florida, Alabama (Steele Hall), Nevada (Tate Southisene), and New York. I also held a Klawchat on Wednesday.

And now, the links…

  • Longreads first: Sarah Harman writes about how she spent years hiding the fact that she was a mother from her colleagues and bosses at the TV network where she used to work because she understood the discrimination, overt and covert, that targets mothers and pregnant people in the workplace. It’s especially sobering to read this when anti-discrimination laws are being rolled back willy-nilly.
  • Florida Surgeon General Joseph Ladapo, a crank and anti-vaxxer, has a faculty post at the public University of Florida. He’s barely done anything since he got the job, according to an investigative report in The Alligator. I thought we were supposed to be rooting out corruption and waste.
  • The Guardian’s Timothy Snyder writes how JD Vance’s ridiculous posturing in Greenland was more than just embarrassing – it was a huge strategic blunder.
  • A Michigan woman was assaulted at work and reported it to the police. The police then alerted ICE that she was in the U.S. illegally, and she’s almost certainly going to be deported. If the police can do this, then people in the U.S. without authorization won’t go to the police when they’re victims of crime, and that makes them perfect targets.
  • That left-leaning tabloid … uh, The Economist described Trump’s tariffs as “mindless” and said they’ll cause “economic havoc.” I mean, yeah. Any first-year econ student could tell you they’re going to hurt the U.S. more than anyone else. This is the same publication that said France should allow the far-right candidate Marine Le Pen to run for President again, just to give you some sense of their perspective.
  • These economically destructive tariffs are going to cause carnage in the board game industry, where most of the manufacturing takes place in China and small businesses don’t have the margins to absorb the tariffs – nor does anyone expect consumers to spend more money to end up with fewer games.
  • Stonemaier Games is releasing a new edition of Tokaido, an all-time top 100 game for me and a classic from the designer of 7 Wonders.

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→ April 4, 2025
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The Wallcreeper.

I found Nell Zink’s debut novel The Wallcreeper in the $4 section at the back of Changing Hands in Tempe, and figured it was worth the shot given that it was less than 200 pages and seemed on a quick search to be rather critically acclaimed. It was more than worth the cost, although I am having a hard time explaining exactly why this book is so good. It’s a mad, meandering, hilarious book that obeys very few of the rules of postmodern literature, which doesn’t have any rules to begin with.

The Wallcreeper is narrated by Tiffany, who is married to Steve; the two of them are birders, although Steve is the more ardent of the two, and they have a pet wallcreeper. That bird isn’t native to Germany or Switzerland, where they live during the course of the novel, but they kept it because Steve was driving one day while Tiff was pregnant, and when he swerved to avoid hitting the bird, it caused Tiff to miscarry. This sequence, right at the start of the novel, is stated with almost comic nonchalance, setting the tone from the start. Tiff’s narration is close to stream-of-consciousness; it’s nonlinear, nonsensical, unreliable, and very funny, often when it’s hardly appropriate.

The story follows the couple through copious infidelities on both sides, Steve’s obscure job that is keeping the two Americans in Europe, a relocation, more infidelities, a tragedy, another tragedy, and some birds. The two even hook up with an activist group and go on to commit some light ecoterrorism, which has unexpected consequences.

Through it all, it’s hard to tell what Tiff really feels about anything – herself, her husband, her various lovers, everything except for the destruction of the planet, which has Tiff, like most of us who realize what’s happening, reeling from utter hopelessness to the desire to do anything that might make a difference. She’s inscrutable as a character, other than her sheer determination, even though it’s not always applied to the best courses of action.

To say anything more about The Wallcreeper risks spoiling the few plot elements that remain – and the wonder of discovering this character, and Zink’s unique voice. The only novel I can recall reading in the last five years that was anything like this was No One Is Talking About This, where author Patricia Lockwood also utilized a stream-of-consciousness narration technique, although hers is more informed by social media. Both authors employ postmodern techniques without dispensing with plot or character development as so many other postmodern authors do (in my lay opinion), and even when I wasn’t entirely sure what was going on in Wallcreeper or whether I liked the novel, I couldn’t stop reading.

Next up: As I’m writing this review, I’m still reading T. Kingfisher’s A Sorceress Comes to Call.

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→ April 3, 2025
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The Room Next Door.

Pedro Almodóvar waited until his 23rd feature film to make his first one in English, released the same month as the Spanish director turned 75. The Room Next Door, an adaptation of part of a Sigrid Nunez novel, is an intense movie about friendship and duty, driven by two outstanding performances by Tilda Swinton and Julianne Moore, a sort of women-centered parallel to his 2022 film Pain & Glory. (You can rent it on iTunes, Amazon, etc.)

Ingrid (Moore) is signing copes of her latest book when an old acquaintance reaches the table and informs her that their former colleague Martha (Swinton) has cervical cancer. Ingrid visits Martha, whom she hasn’t seen in many years, and the two begin spending more time together, as Ingrid realizes Martha is quite lonely, with only an estranged daughter remaining of her family. When a promising treatment turns out to be unsuccessful, Martha decides to end her life on her own terms and asks Ingrid to accompany her to a house in the country, so that Martha knows someone who cares about her is in the room next door as she dies. Ingrid ends up agreeing, and the remainder of the film follows the two women through the last few weeks of Martha’s life.

There are only three characters of any significance in The Room Next Door, with John Turturro appearing as Martha’s former husband and Ingrid’s former lover, putting all of the pressure on Swinton and Moore to carry the film – and, naturally, two of the greatest actors of their generation are up to the task. Swinton’s performance is the more surprising of the pair’s, as she’s largely understated throughout the film; she’s played big or weird or both so often in recent years that it’s a treat to see her dial it back like this. Martha’s insecure and maybe neurotic, but resigned to her death, in contrast to Ingrid, whose latest book is about her own crippling fear of dying, and Swinton gives the character the right combination of nervous energy with a touch of irascibility. Ingrid is the more straightforward character, although Moore’s challenge is navigating the wide range of emotions she faces across the film – it’s clear at the start that she and Martha were never that close, or at least Ingrid didn’t think they were, so she ends up growing fonder of Martha as Martha’s death becomes inevitable and the favors she asks become more significant.

(As an aside, I realized after watching this that I’d never seen Michael Clayton, the 2007 film for which Swinton won the Academy Award for Best Supporting Actress – still her only Oscar nomination – so I watched it. That performance is also quite understated, and also one of her best.)

The production itself is lavish, visually and metaphorically. Nearly every scene pops with strong, vivid colors, even more so when they head out of the city to a luxurious house in the woods, with gorgeous shots of the forest just beyond the house’s deck. Almodóvar has a long history of using red for its symbolic value; the door to Martha’s room is red, and she wears deep reds many times in the film, while the chaise longue where Ingrid usually reclines on the deck is also red, certainly an unusual color (and fabric) for outdoor furniture. (Martha lays on the green one.) There’s also a sense of wealth and even abundance throughout the film that cuts both ways –these are two privileged women who can afford to do this and, for Martha, face the potential consequences; yet the contrast between this lush setting and the inevitability of Martha’s death underscores that all the money in the world can’t change the fact that we’re mortal.

The estranged daughter does appear near the end of the film, providing a brief but somewhat telling coda that gives a little more insight into Martha’s character – and into Ingrid’s as well. We know Martha’s going to die before the end, but rather than concluding on the most morbid note, or with something clichéd like a funeral, the story ends with a conversation and a scene on the deck that connects to an earlier scene. Both scenes include passages from Joyce’s short story The Dead, while earlier Martha and Ingrid also watch John Huston’s 1987 film adaptation – laying it on a bit thick, I suppose, although it is considered one of the greatest short stories written in the English language. Almodóvar has settled into a mellower groove as he’s aged, dispensing with the sort of shocking elements that helped make his reputation as an avant-garde filmmaker while he focuses more on character development and dialogue. The Room Next Door is (at least) his third straight film in this vein, and I think it’s the best of the trio thanks to the two lead performances.

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