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The series has meticulously built the psychological portrait of its characters for 5 seasons (Walter White’s long path to violence, Walter-Jesse relationship on the master-student axis, father-son, and these are, of course, only two examples from many), leading to a mastery of – it would seem – simple cause and effect narrative and a logical change slowly taking place inside the characters. Meanwhile, the film doesn’t have time for this.
“The Painted Bird” by Jerzy Kosiński is one of my favorite books. So I awaited the film adaptation by Václav Marhoul with impatience and enthusiasm. (…) Why Václav Marhoul haven’t done his homework?
It is year 2025, Eastern Ukraine. One year has passed since the end of the devastating war. The deserted, almost devoid of vegetation landscape, which lacks potable water, is one huge battlefield, a minefield and a cemetery. Remnants of industry are withdrawing from the region along with people forced to abandon their former lives and set out to seek happiness elsewhere.
The story in the form of a parable can be perceived as a derivative of exploitation cinema – maybe not rape, but definitely revenge. This is a solid fairy tale – a story not afraid of deconstructing violence and important universal topics.
Move the Grave, the full-length debut of a young Korean director, Seung-o Jeong, is a successful cross-section of Korean society from the perspective of one three-generation family.
Merab dreams of becoming a famous dancer. However, he has a problem, because in Georgian ballet, the most important thing is the exposition of male energy, and the boy has a talent for gentler movements. The hierarchy of desires will begin to change with the appearance of a new feeling – a desire.
Superficially, one cannot find any mistakes: the technical performance, image and sound quality, fact-based script or theme – inhumanly timed women in Algeria of 1997, when religious fundamentalism was becoming stronger – are pretty solid. But exactly this perfection is something that completely breaks the film’s credibility. The heroines of Papicha are not only written as in the American film, but also were filmed as so.
Shindisi is a story based on real events – or rather a war story about the heroic deeds of Georgian civilians and an ardent spirit that burns not only in young soldiers.
Young 14-year-old boy from Cambodia decides to give up his hard work in his family’s rice field and sets out alone with his dream of raising capital. It will soon turn out that the rice fields were in fact the only paradise he could count on.
Zilberman doesn’t just stop at the facts. He wonders where exactly the violence and radicalism of young people comes from (it should be remembered that Israel is now a very right-winged country, so in this sense Incitement are not only a story about past events, but also a warning about Israel’s future).