That Hallelujahs record is a great autumn album.

That’s an excellent idea.

I'd also suggest that when citing Trump's social media posts, they should be read in their entirety rather than selectively quoted. Any portions written in all caps should be shouted.

The BBC should stop filleting soundbites from Trump's speeches and present all quotes in context – preferably a few minutes' worth of uncut footage, with subtitles to ensure viewers don't miss a thing.

I also use a Nintendo DS kanji game that came out in 2007, so any improvements you did make would probably blow my Luddite mind.

Update: Tickets for the additional screenings of MISHIMA just sold out in under a minute. You'd think it might actually be worth giving a wider theatrical release.

Maria Vitoria (Mário Patrocínio): Punchy debut with a star turn by Mariana Cardoso as an aspiring goalkeeper who rebels against her domineering dad, directed with flair + a gazillion closeups. The family drama might have been more resonant if the patriarch wasn’t such an obvious brute, but whatevs.

For what it’s worth, I still use that kanji app.

Tunnels: Sun in the Dark (Bui Thac Chuyen): Wasn’t expecting this to be one of the highlights at TIFF. Riveting, detailed, surprisingly horny account of life in the Viet Cong’s tunnel systems. Human drama is mostly whatever but the action is taut + claustrophobic. Doesn’t demonise the Yanks, either.

Heads or Tails? (Alessio Rigo de Righi, Matteo Zoppis): This year’s quirky, revisionist Spaghetti Western pales in comparison to last year’s quirky, revisionist Spaghetti Western (Adios Amigo). Nadia Tereszkiewicz gives it her all (in Italian, no less) but the film never gets out of 3rd gear.

Hen (Pálfi György): Some brilliant filmmaking on display in this bird’s-eye view of human iniquity, rendered unpalatable by the glib parallels it draws between industrial farming and trafficking. György’s taste for provocation gets the better of him here, but I can’t deny that it’s entertaining.

Sermon to the Void (Hilal Baydarov): O, my soul! I haven’t seen anything this visually extreme since Aggro Drift (which was plot-packed in comparison). Endless philosophising + old-school psychedelic imagery = good post-club comedown movie? I enjoyed it more once I stopped trying to stay awake.

Mothertongue (Zhang Lu): Failed actress returns to the hometown whose dialect she’s forgotten to speak and… just kinda mooches around. The sequences in the abandoned Emei Film Studio had a nice vibe, but otherwise I couldn’t get a grasp on this (and not sure the director could, either).

Yeah, it’s like those JT ads where you get to the end and are like “Wait… what?” Seen anything good yet?

On a side note, they’ve been playing this ad before all the screenings at TIFF and it’s amazingly bad. Enjoy! youtu.be/D0ROxn-cGks?...

Palestine 36: A solid historical epic, bracing by virtue of its subject matter more than its execution (which is fine, but pretty orthodox). Manages to squeeze an impressive amount into its 2-hour runtime without getting hard to follow. Always good to be reminded what shits the Brits were.

Vitrival - The Most Beautiful Village in the World: I kept feeling like I should be enjoying this more than I was. Very effective at evoking the inertia of rural life + how impervious it is even to the most existential threats, but the film’s comedy isn’t so much dry as desiccated.

Journey Into Sato Tadao (佐藤忠男、映画の旅): Felt like a feature-length TV documentary that was trying to do too many things at once, but I found it informative. The clips of G. Aravindan’s “Kummatty” (Sato’s *real* favourite film) kinda made me wish I was watching that instead.

It’s a ma-ma-marvellous lineup.