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Before the screening of On Her Shoulders I was expecting a generic, typically sundancian, lovely-filmed (beautiful films about ugly problems – and problems which will not be cleared in this way and the picture will not be pleasant) story about another individual success (in this case Nobel Peace Prize for Nadia Murad).
A good film criticizing the operations of any large public institution not only draws attention to the problem, but also seeks its source. What connects most of the socially-involved productions allegedly “attacking” the Catholic Church is showing corruption that has become the daily bread for this institution, something as natural as breathing.
The fifth season shows that BoJack has long gone beyond the scope of ordinary projection-identification. This is not only the responsibility that the hero has to take in the end, but also reconciliation with the past. We settle accounts with all the faces of the animated horse, as well as with our own disposition as recipients of the series – and more broadly – the culture.
Nicole Vögele in her neomodernictic in spirit documentary is not looking for a sensation. The camera will not find itself where rich nightlife takes place, where colorful clubs are bursting of crowds, nor will it follow dark alleys in an attempt to find a way into the criminal underworld. The director heads her gaze towards an unattractive job at a small night diner.
Spike Lee has mastered the ability to deconstruct and rework blacksploitation cinema. Unlike, for example, Quentin Tarantino, he does not refer to the historical genre in order to duplicate it, constructing a modern, attractive copy of it, but uses his imagination, breaking harmful patterns.
Lucrecia Martel tells a brilliant tale of Zama, Spanish senior official managing a small coastal colony located on the Atlantic, away from beaten trade routes and European civilization.
The recipe is very simple – we have won a special workers’ lottery and we must play the role of an immigration officer on the border of two familiar-sounding countries hating each other: Arstotzki and Kolechia.
I doubt if we have a second Polish director who can talk about indigenous problems on a global level, i.e. not only for Poles (as Wajda did, whose Polish romanticism – although he could enjoy being outside the country – was warmly welcomed but not often understood abroad), but also for, say, universalized audience.
Bill Morrison, known for his ability to create sensitive, poetic found footage images, has produced an unique film. And not only because of the formula – Dawson City: Frozen Time is a picture composed almost exclusively of archival materials from the beginning of the 20th century, miraculously unearthed in Dawson.
Hirokazu Koreeda has risen to mastery in portraying family relationships. He began his career in the early 90s with television programs and documentaries.