Poché Pictures

There’s a moment early in Felicia’s Journey—Atom Egoyan’s 1999 psychological thriller where “psychological” means “nobody blinks” and “thriller” means “you might nod off”—when the titular Felicia, a naive Irish teenager, stares blankly at a British cityscape. In that moment, you can practically hear Egoyan whispering behind the camera: “Behold… alienation.” Unfortunately, all we behold is … Read More “Felicia’s Journey (1999): Atom Egoyan’s Half-Baked Serial Killer Soufflé” »

Let’s begin with a question: Have you ever wanted to watch a two-hour funeral for an entire town set in a snow globe of sorrow, where every character speaks like they’ve recently been diagnosed with terminal reflection? Welcome to Atom Egoyan’s The Sweet Hereafter—a film so sad, so relentlessly elegiac, it should come with a … Read More “The Sweet Hereafter (1997): A Snowy, Somber, Soul-Sucking Slog” »

Atom Egoyan’s Exotica (1994) is a film about grief, longing, and exotic dancing—though not necessarily in that order, and not with any real enthusiasm. Set mostly in a dimly lit strip club that resembles a half-dead terrarium, this is a movie that takes a potentially titillating premise and then drains it of all joy, energy, … Read More ““Exotica” (1994) – A Strip Club with Feelings (And Zero Fun)” »

Atom Egoyan’s Calendar is what happens when a filmmaker stares into a void for too long and decides the void might make an interesting movie. Spoiler: it doesn’t. What we have here is not a film so much as an experimental hostage situation—one in which time, emotion, and narrative coherence are blindfolded and marched off … Read More “Calendar (1993): A Cinematic Root Canal in Twelve Bleeding Months” »

Atom Egoyan’s The Adjuster (1991) is the kind of film that gets introduced at film festivals with phrases like “bold psychological exploration” or “a meditation on identity and trauma,” when in reality it plays like someone filmed a philosophy major’s anxiety dream using a discarded David Lynch starter kit and the last roll of Canadian … Read More ““The Adjuster” (1991) – Atom Egoyan’s Freudian Carnival of Wut” »

If you’ve ever wondered what it would feel like to be emotionally waterboarded by a fax machine while trapped inside a RadioShack circa 1989, Atom Egoyan’s Speaking Parts has you covered. This is a film that stares deep into the hollow soul of modern relationships and comes back with nothing but static. It’s an existential … Read More “Speaking Parts (1989): Atom Egoyan’s Moody Karaoke of Miscommunication” »

Atom Egoyan’s Family Viewing (1987) is a film that takes the word “uncomfortable” and stretches it over 80 minutes of dreary Canadian awkwardness, broken communication, and truly horrifying camcorder choices. It’s like if American Beauty were directed by a Soviet documentarian on Ambien, using only expired film stock and half-charged batteries. Critics might call it … Read More ““Family Viewing” (1987) – Press Play to Suffer” »

Before Atom Egoyan became Canada’s official exporter of art-house melancholy and incestuous subtext, he made Next of Kin—a film so painfully awkward, so aggressively polite in its mediocrity, it feels like it should come with an apology and a Tim Hortons gift card. This was his debut feature, the cinematic equivalent of a teenager’s slam … Read More “Next of Kin (1984): Atom Egoyan’s Dysfunctional Family Reunion with the Audience” »

James Ponsoldt’s Summering (2022) is one of those films that wants to be deep and whimsical, but ends up face-planting into a pile of sincerity and forgotten potential. It’s a coming-of-age story so devoid of urgency, charm, or purpose that it feels less like a movie and more like a long group text thread where … Read More ““Summering” (2022) – Stand By Meh” »

Let’s imagine for a moment that Black Mirror was adapted by a committee of marketing interns, filtered through a TED Talk, given a coat of Silicon Valley paint, and then drowned in a vat of lukewarm moral ambiguity. That unholy stew of glossy technophobia and empty philosophical musing? That’s The Circle, a movie so proudly … Read More “The Circle (2017): Surveillance, Smugness, and the Cinematic Black Hole Where Plot Goes to Die” »