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Caught By the Tides (2025) | Jia Zhangke
An experimental movie that I would have benefited from seeing in a theater with my full attention, Caught By the Tides pulls off that Boyhood conceit of having its actors age alongside the characters over a 20-year spread. The interesting angle here is that the archive and outtake footage from before 2022 weren’t shot with the intent of making a modern narrative film. Acclaimed director Jia Zhangke is assembling material from various projects, including footage from the production of recently lauded films Ash is the Purest White and Still Life.
The result is intriguing to me, but just as with Boyhood, part of me feels uncouth in not appreciating the slow, methodical nature. I’ve been trained for decades to appreciate how movies can condense time, stitch it all in the screenplay and the editing room from footage over a period of months. Playing in the border between documentary and narrative needs the fictional part to be compelling and the temptation would be to manufacture the drama, but – this is to his credit – Zhangke wants an organic story that reflects a ponderous reality. As a result, I really have to be in a certain mood. Maybe I’ll find this again in a better space for it.
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FS pretty much watched Cars start to finish on a Sunday evening, which has he technically only ever done before with Flow.
Cars was one of the famous early Pixars, along with Finding Nemo, that taught me I wouldn’t be universally enthralled by the oeuvre. This time around, I’m really grappling with the question of whether “saving Radiator Springs” is worth all the story.
Still, it’s a better movie than Hoppers, which features a protagonist whose character flaws are all a result of internalized angst. At least Lightning McQueen is a genuine jerk, you know? Gives you something to dramatically change, as opposed to starting muddled and ending muddled.




