“Gerda” by Natalya Kudryashova is a clash of a delicate, innocent soul with wild everyday life in which one has to fight for survival.
“Verdict” is a shocking film that takes no prisoners. Raymund Ribay Gutierrez draws his story with such ruthless, naturalistic at times, firmness…
Woman is only seemingly democratic when it comes to presenting femininity. The languages (with an emphasis on French) of developed countries dominate the movie – the countries of Eastern Europe, the Balkans, Central America, the Arabian Peninsula and a large part of Africa have been almost completely omitted
The film by the Belgian artist makes us aware of the scale and opens our eyes to what we all perfectly know and effectively learned to ignore – to disregard of human rights in the name of the artificial capital-driven needs.
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.
“Blood Machines” – are exactly what they meant to be. This aesthetics – musical space opera with phenomenal synthwave rhythms composed by Carpenter Brut – can be totally bought.
Why the beneficiary of the system in which men feel like donuts in fat, should be worried about the fate of his heroine – except that the topic will almost certainly act as a bait? Midi Z, however, managed to convince me to his movie.
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.
The ability to be moved in the cinema has a ratio inversely proportional to the number of movies watched and one’s experience. The effectiveness of the image in this area does not necessarily mean that we are dealing with a masterpiece, but every tear shed in a dark room full of unknown people is a special moment. Therefore, instead of classic summary of the year, I serve you a list of my ten emotions.
TellTellingCinema is a non-cyclical series of podcasts devoted to cinema related issues.
In the second episode I talk about the 93th Academy Awards and the presence of disabled people during the gala.
The post TellTellingCinema: Oscars and disabled people first appeared on Zawieszony.pl.
