How do they get children to act like that. The kids were so talented
If you're not from Poland, don't watch this. If you're from Poland, don't watch this either.
My God but Xavier Dolan is a gifted director. He wields such a subtle and sensitive camera that it'll sometimes steal your breath. Imagine what he could've done had Matthias & Maxime had more of a story!
Incredibly interesting. Incredibly awful. You won't forget this anytime soon.
This is the film I wanted to see when I saw Greengrass's July 22.
If you want to make a movie about a mass shooting, and you want the audience to feel what it's like to strive to survive, you film it in one single take and you film it in real time. Basically, you film it exactly like Utøya: July 22.
U July 22 follows one young woman from the start through to the end of the mass shooting that took place on July 22, 2011 in Oslo, Norway, at a youth summer camp on the island of Utøya. The technical expertise required to make the entire film in one take and in real time boggles the mind, but creates a sense of immediacy that pulls the viewer into the story and traps them there.
The film's weaknesses (a couple of scenes feel like filler and others fall into cliché) do little to reduce the overall impact of U July 22, especially when the director (Erik Poppe) chooses to film in Norwegian and to never reference the shooter by name. Utøya is one of the most unique, powerful and authentic films you will see this year.
Mike Nichols’ The Graduate gracefully transcends genre conventions with the use of one key factor: perspective. A perspective suffocated by youthful malaise for events yet to come. A submissive perspective tossed and turned by the will of adult superiors rather than his own. A perspective viscerally experienced through use of long tracking close-ups of Ben Braddock’s shuffle through the thick cascade of grown-ups, visual motifs emitting his inner sense of confinement, and his awkward, satisfying arc from a caged goldfish to a free-spirited dolphin.
This initial passivity is handled to full potential, generating tightwire tension from the elder Mrs. Robinson’s attempts at seducing his diffident innocence. Nichols analogizes Ben’s emotional states to bodies of water, once being trapped and controlled by outside forces in a swimming pool, and in another, sailing smoothly on a cozy pool bed and relishing in the presence of a lively, decorative fountain. Simon & Garfunkel’s soundtrack further enhances this thematic weight, figuratively charting Ben’s rise from the dark, silent abyss of emotional emptiness and passivity to a town-hopping hero charting his own path to instill a little more certainty into an undoubtedly uncertain future. Through Ben’s eyes, the older generation are represented with humorously exaggerated flourish, with the writers brilliantly tapping into parents’ natural, incessant need to control their children’s paths as well as their over-dominance that kickstarts Ben’s thrust into a more active control of his life.
By slowly exposing Elaine Robinson’s emotional scars and the similarities of her predicament, the universal naturality of Ben’s struggles is captured; with her joysticks also in hands of different pilots, the film’s themes immediately transcend social and gender boundaries and become mutually shared experiences. The same can be said for its masterful final seconds, which captures, through face alone, that despite the impermanence of life’s elations and the anxious uncertainty of an undrawn fate, these emotional pains can be eclipsed if fought together rather than toiled through alone.
It's crazy to think that something like this could happen. Denis Villeneuve really creates tension and horror throughout the whole shooting. Some great camera work and cool shots. You can see right away the Villeneuve is a talented director.
Great movie, the actors are good, you will hate those two young men (I personally hated the "fat" one) with so much heart, and feel as confused as this poor family. Funny Game might not be movie to watch with your family on Christmas but it is worth watching at least once.
Weird... But in a good way. But still weird. Very weird.
I wasn't expecting this to be that good, very subtle drama. Well worth the watch.
Ultimately, the documentary really makes you wish that Jodorowsky's version of Dune had pushed through. It would have been vastly different from the original novel, but I think it would have amazing in its own way.
This was surprisingly compelling. It follows the campaign to vote "No" on the 1988 referendum in Chile that would have allowed Augusto Pinochet to continue in office. I liked it a lot more than I expected to. It's shot in a unique technical style, making it look like it could have been made with 1980s technology (from what I understand it wasn't; it just looks that way, but it is clearly a deliberate design choice). Well acted, well scripted, well directed. It's quite good and easy to see why it's nominated for Best Foreign Language Film.
by the closing credit i burst into tears even though it's a happy ending but something about the little girl POV made it different
An engrossing and taut movie that left me feeling a bit uneasy after watching; the tension can pull you in. Compelling cinematography. Not acted, but rather lived.
“I will die for these animals.” Grizzly Man is a powerful documentary from Werner Herzog about Timothy Treadwell, a liberal activist who went to the Alaskan Wildlife Reserve to protect grizzly bears, and ended up being killed and eaten by them. Through Treadwell’s own footage the film shows his descent into madness as he loses touch with reality and rejects human society. Yet Herzog remains largely nonjudgmental, and contextualizes the Treadwell tragedy through interviews with his associates and colleagues. Incredibly fascinating, Grizzly Man is an ironic tale of a man’s passion consuming him.
[SEFF] The pandemic of oblivion. But this disease is seen as a liberation. Start over, create a different identity, build a life based on fresh memories. The parallel to recent Greek cinema is evident, but here the metaphors are more accessible, but perhaps less clear. What makes it unique is the ability to remain attentive to this process of forgetfulness, to this need to be oneself by erasing what one has been.
Wow. I'm not sure what happened but I won't soon forget it.
Ema is a beaten dog that bites and you don't know if you should pity it or not, because you don't know if it bites because it's beaten or beaten because it bites.
But the dog doesn't care what you think, it just continues to dance.
A highly stylized psychosexual drama, Ema is an over-long song with so-so lyrics but great music that makes you feel like dancing.
In the beginning I really didn't like it and found it overrated. I've never really been drawn to those movies about small towns in the US or whatever. However, after watching it and reading a bit about it, I must admit that it wasn't all that awful. Maybe I was too harsh with my first judgement, and after letting the movie sink in I've come to the conclusion that I might have been to caught up in the ugliness of it all to appreciate it.
I appreciated the way the movie was cut and overdramatised, making it more interesting.
It is an intelligent translation of a complex book to the cinema, because while the book can transfer the protagonist's thoughts, the film adopts a more detached position. The character's ambivalence is one of the keys to the excellence of this story. The fish in the title represents his kind side, his ability to empathize with a living being. The girl, however, is the temptation, access to a forbidden desire.
There is something of Frankenstein in the lake scene, conveying at the same time a feeling of empathy, but also a constant threat. The film manages to introduce us to the psychology of a difficult character (the work of the actor Tijmen Govaerts is also splendid) without the need to verbalize too much, just with a subtle look.
And Then We Danced is an average looking guy at a party who's really attractive because of his accent.
This LGBT dance film merits a watch because of 1) the milieu of traditional Georgian dancing and 2) the extraordinary performance by newcomer Levan Gelbakhiani. There's not much new here, but what isn't new is still fresh.
An engaging mosaic of the human condition throwing you into situation after situation, juggling nations and different ethnicities into a cohesive story that flows over places and time. It's even meditative in a way. Raw and honest.
