Little Women – Mature Women
Gerwig is perhaps the first of Alcott’s adapters who could read between the lines – as if Alcott’s novel had to wait for the right times and sensitivity. As if it had to wait for a woman.
Gerwig is perhaps the first of Alcott’s adapters who could read between the lines – as if Alcott’s novel had to wait for the right times and sensitivity. As if it had to wait for a woman.
“Proxima” tells the story of the astronaut, Sara (the wonderful Eva Green), who tries to combine dedication to her work and the urge to cross the new frontier with a sense of maternal duty and love for her daughter, Stella.
Mendes starts well, trying to portray the experience of war, the threat of waiting for conflict resolution and life in the trenches. What’s more, it uses a monumental mastershot extended to the length of the entire film.
Since Dogs could be analyzed as a mirror of the male world just after Polish political transformation, we can assume that the last part of the series, Dogs 3: In the Name of the Rules, which has just hit the Polish cinemas, will be a portrait of masculinity after more than 30 years from the memorable year of 1989.
Marriage Story is an educational film, because it tells about emotional immaturity, lack of communication skills in the relationship in which it should be the basis, as well as how unknowingly one can use another person, digging oneself in one’s individual, egoistic world.
Eggers’ heroes go to border places where none of the worlds has full influence, but constantly fights and clashes with the other side. These are places where myths, oral traditions, beliefs and stories live.
In the movie, the “de-aging” technology was used on actors for the first time (with such a momentum) in history of the cinema. This age manipulation is interesting not only because of the effects, but also because it corresponds with the subject of the film.
Bartosz Kruhilk, debuting as a director with his Supernova, seems to be well aware of the tensions that lie in Polish society. The young artist bravely scratches the wounds and sense of injustice and builds a simple but surprisingly effective thriller that has the viewers on the edge of their seats.
The new film by the two-time winner of the Golden Palm includes not only the story of an employee who falls into the trap of working under a private franchise (unwittingly giving up his employee rights to “work for himself”), but also a classic family drama.
The Polish candidate for the Academy Award, Jan Komasa’s Corpus Christi, is a film that, at first glance, fulfills a wish for such Polish socially involved cinema that could deconstruct the society’s relations of power. A cinema that could criticize closed to human needs clergy and authorities which are traditionally caring only for their own interests. In fact, Komasa’s latest work fulfills this dream only on paper.