Many words have already been said about Midsommar, the latest film by one of the leading creators of A24 stable, Ari Aster. You can focus on the analysis proposed by the creator himself, that is – as Aster puts it – “apocalyptic breakup movie”, a parabola of toxic relationships, or a grotesque film that is entering the foreground and a surprisingly apt trip towards cultural anthropology.
Tony becomes Shirley’s driver and goes with him on tour of the American South. The real purpose of a virtuoso who lives alone above Carnegie Hall is not to earn money, but to contribute to the slow process of the racial equation in places where it is most difficult.
It was probably only a matter of time before an interactive movie appeared on one of big streaming platforms. The online environment seems to be ideal for interaction with the viewer, who will decide the hero’s fate with one click.
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.
This year’s winner of the International New Horizons Competition, Agnieszka Smoczyńska’s Fugue, is a drama with psychological, dark-mooded surplus, which in Poland falls on an extremely absorbent ground.
Kursk tells us a story of a Russian submarine that tragically sank in the Barents Sea during the Northern Fleet maneuvers in August 2000.
Second after Of Horses and Men, Benedict Erlingsson’s full-length film tells the story of climate problems that the world is facing and short-sightedness of large enterprises focused on profit and so called “progress,” not noticing the damage that is spreading around them.
Alfonso Cuarón’s Roma is a movie that should evoke our thoughts not only because it was awarded with Golden Lion in Venice (and a number of other awards, warm critical reception, etc.), but also because it is one of the experimental moments for the distribution market not only in Poland.
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.
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.
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.
