

We watched Temporada twice in a week, and the second time we stopped following the story and started watching the ledger. Salgado films clerical work the way other directors film weather.
A staff pick since May, and the film we put on when a programme needs air in it. Ilagan is a musician and the song choices are doing structural work: each one tells you who is in charge, and the cut back to Bong's face tells you what it is costing him. Watch the taho vendor's coup, which is staged like a heist. It is the only film here that has made a room applaud twice.
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A staff pick since April. Anane makes records for a living and it shows in what he chooses to film, which is not the performance but the negotiation before the performance. Watch Bayo the engineer, who is the audience surrogate and never announces it. The long take starts at minute nine and runs almost five minutes, and it works because Marisol Okafor cut everything around it tight, so by the time it arrives you are grateful to be let go.
A staff pick because of the timing. Brannigan writes teenagers who talk too fast and then land on the one true thing, and he stages the shop so you always know where the door is, which is most of the comedy. Watch the second customer, the man returning the underlay. He is on screen for ninety seconds and the whole economy of the film is in his shoes. Fourteen minutes. We put it in a shorts programme in April and it played twice.
Watched it the night it went up, which I never do, because the trailer had a shot of a woman eating standing up at a kitchen counter and I wanted to know why that wrecked me. It is a film about a season ending and nobody admitting it. The daughter says almost nothing for forty minutes and then says one thing. I put my phone in another room for the second half.
Cut to the road, not to the beat, which is the harder choice and the right one. Every time you think it is about to drop into a montage it stays with a face instead. Also the film is fourteen minutes and feels like six, and I mean that as the compliment it is.
A film about a night that will not end, made by somebody who knows that the sun coming up is not automatically hopeful. The two long walking shots are the spine of it. I would have cut the phone call. Everyone I have argued with about this film says the phone call is their favourite part, so I concede nothing but I note the pattern.
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