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.
In Beanpole, the Russian candidate for the Academy Award, the world is drawn exactly as Dutch paintbrush masters have done it so many years ago. This is the world of ordinary women performing ordinary activities in soft light, which timidly bursts through the windows into the charming rooms of Leningrad’s tenement houses.
Is Joker just a warning against blind consumption, the deadly pursuit for wealth, ignoring the basic needs of people, etc., or pure glorification of violence?
Rambo remains, of course, a great, undemanding entertainment. The problem is that the further into the forest (jungle), the harder it is to swallow the bitter taste of ideology.
Ad Astra presents the “near future” of human civilization, when the colonization of nearby planets will become a way to acquire valuable resources and expansion of space appropriated by man, the expansion of capitalism.
When I went to watch Parasite I expected many things. I expected the Korean artist to have fun with film genres, just as he did in his previous works. I expected – as in Snowpiercer – a strongly outlined class conflict and a clear devaluation of the forces (mainly the capital) behind capitalism as a system.
TellTellingCinema is a non-cyclical series of podcasts devoted to cinema related issues. In the first episode I discuss the exploitation of women (and not only) in cinema (and not only).
The post TellTellingCinema: Women, Patriarchy, Toxic Masculinity first appeared on Zawieszony.pl.
