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From Writer / Director James Webber and Producer Roxanne Holman comes SOROR, the follow-up to the BAFTA long-listed and Cannes Film Fetsival Coup de Coeur winning DRIFTWOOD. Starring: Rosie Day (Outlander, Misfits), Sian Breckin (Tyrannosaur, Starred Up, Donkey punch), James Alexandrou (Eastenders) & double BAFTA winner Kate Dickie (Red Road, Game of Thrones, The Witch). Watch the full film for free now on Findie:https://www.findie.me/video/soror

Christopher Nolan is back! Take a look at the Dunkirk movie trailer which makes other war film trailers quake in their boots...

Writer, Director: Brad Bird (Contains mild spoilers) Nearly fifteen years have audiences been patiently waiting for the sequel to Pixar’s successful much-loved family superhero flick. All your favourite characters return to take on new villains and new missions that allow each Incredible to use their powers in a fun and exciting way. The question is whether or not that this film was worth the long wait. THE GOOD: The Beginning/A Change in Shift: The best part of the film occurs at the start where we begin where the first Incredibles ended - The Underminer. Straight away action ensues in a chaotic, intense way so that we are drawn into the Incredibles from the get-go reminding us of their powers and personalities. After this chaos is resolved we see the dynamics in the Incredible Family shift. Mrs. Incredible (A.K.A Elastic Girl) becomes the breadwinner whilst Mr. Incredible has to stay at home and look after the kids whilst trying to be supportive and hide his jealousy from his wife’s success. This in itself is quite poignant and relevant when looking at current issues surrounding gender equality in the workplace. The switch makes for humorous moments, but it is a clear statement surrounding the difficulties and ideals of how society still sees women as the home carer and men as the provider. It supports the cliché that whatever men can do women can do it too, sometimes, even better. Old and New Characters: Seeing childhood favourites on the big screen again will put a smile on anyone’s faces and make adults feel like a kid again. Dash (unnoticeably voiced by a different actor) is my personal favourite, and remains the cheeky, high-energetic 10 year old. As hinted before, you get to see more of Elastic Girl and more of what she can do (the motorcycle/metro chase scene was intense) as she hesitantly fights against injustice in the new fictional city of New Urbem. The short appearance of Edna was a clear audience favourite, but it is Jack-Jack who steals the show. Though an old character, his development of new, random powers make him feel like a new one, and with Mr. Incredible taking on the role of an unexperienced stay-at-home parent, this is an inevitable recipe for hilarity (trying to make Jack-Jack reappear with a cookie was priceless). With an array of new super-powered characters, the only one worth mentioning is Voyd. With similarities to the mutant Blink in X-men: Days of Future Past, Voyd’s teleportation abilities bring a high sense of fun and intensity. In particularly, towards the end Voyd tries to teleport Elastic Girl onto an aircraft, but Elastic Girl keeps missing the target, so Voyd attempts at least three more times to get Elastic Girl on the fast traveling turbo jet. This was ingenious, showing us a unique perspective and scenario not seen before in previous superhero movies. The Visuals: Needless-to-say, Pixar is so reliable and consistent with the high-level quality of the visuals and Incredibles II does not disappoint. Colours, light and shade, set designs, together emanated ecstasy for the eyes, and combined with the distinguishable energetic soundtrack, brought a solid, satisfactory completion to the film. THE BAD: Different Different But Same - What is really odd about watching Incredibles II is that after waiting over a decade for this sequel to be made, nothing much has really changed, i.e. the film occurs only days after The Underminer event. The storyline has not really progressed either; Supers are still exiled and forbidden to use their powers in the public domain, Violet’s boyfriend’s memory has been wiped and doesn’t remember ever meeting Violet and so she has to try and win his heart for a second time round, and Dash is still having problems with school (albeit math problems as opposed to behavioural ones). Also, with Violet, she is dramatically different in personality (clichéd teenage mood swings) and in her powers (she can now use her shields in a offensive way). It is great that Violet and her powers have progressed and evolved, but with the time being set only days after the end of Incredibles I, this seems a bit odd and misplaced. What’s more flawed about the film is that, although it seems fresh and different to the original, there really isn’t much difference to the structure at all. Mrs. Incredible has to work alone for some rich people she rarely knows - just like Mr. Incredible in the first - one of the people who Elastic Girl works for turns out to be the villain and is tech-savvy and uses technology as a means to get what they want - just like Syndrome in the first - the identity of the villain is revealed three quarters of the way in, Violet and Dash is left alone to defend for themselves for about seven minutes, and, just like the first, there is a similar climatic end which involves the efforts of all the Incredibles working together. So although it appears that the sequel is far different from the first instalment, closer inspection shows that it has more similarities with its predecessor, and the problem with this is that it makes Incredibles II seem stagnant, trite, and unoriginal. Like the latest Star Wars franchise, nostalgia alone cannot make a film a good one; it is the combination of the storyline, script, messages, and themes and ideas that elevate an average film to an incredible one. Screenslaver, The Antagonist - The villain in Incredibles II - Screenslaver, is one of the most flimsy antagonist seen this year. It is extremely obvious who the villain turns out to be, and rather than hiding Screenslaver’s identity, the film should have spent more time building Screenslaver’s backstory and create more empathy behind Screenslaver’s actions. Instead, we get a very bland, forgettable, unconvincing, two-dimensional adversary. With strong villains in superhero films this year - Eric Killmonger in Black Panther, Thanos in Avengers: Infinity War - Screenslaver is by far the weakest aspect of the sequel. The Verdict So was Incredibles II worth the 14 year wait? I hate to say this, but no, it really wasn’t. Definitely go see it and make a family outing out of it, but in no way does Incredibles II outshine the first, nor does it come anywhere close to how outstanding the first one was. The reason for such a long wait was that the creator, director and writer, Brad Bird, wanted to make a sequel until he had a good, compelling story and script. This can only be commended, but unfortunately, even after good intentions, Incredibles II feels like it was trying to capture the magic created by the first encounter, and so ends up being nostalgic but in a repetitive, uninspiring, uncreative way. Kids will enjoy this film, adults will feel like a kid again, but you just won’t leave the cinema feeling like the way you did the first time round. Rating: 6½/10

FRENCH FILM FESTIVAL UK 2017 Golden Years screening as part of the FRENCH FILM FESTIVAL 2017 London’s Regent Street Cinema to host nine film screenings as part of the French Film Festival UK 2017 and will take place between 4-10 December The biggest explosion of French and francophone cinema in the UK will hit cinemas in November as part of a major expansion of the French Film Festival UK, which is celebrating its 25th year. MONDAY 4TH DECEMBER ISMAEL’S GHOSTS Just before he is about to start shooting his new film, a filmmaker’s life is turned upside down when a woman he had loved and who had disappeared, reappears. Directed by Arnaud Desplechin and starring Mathieu Amalric, Marion Cotillard, Charlotte Gainsbourg and Louis Garrel. CORNICHE KENNEDY Sensual, edgy, relentlessly honest and tender, Corniche Kennedy, directed by Dominique Cabrera, focusses on young people, their lives, dreams, and relationships. Taken from the eponymous novel by Maylis de Kerangal, Cabrera’s film is set in Marseilles. The title refers to the Corniche du Président-John-Fitzgerald-Kennedy, a boulevard along the coast, and at its heart is a group of contemporary teens who defy the laws of gravity by plunging into the water from a height. WEDNESDAY 6 DECEMBER GOLDEN YEARS A deserter disguises himself as a woman to escape the fields of battle during the First World War in veteran André Techiné’s new film, adapted from Fabrice Virgili and Daniele Voldman’s non-fiction book The Flapper and the Killer / La garconne et l’assassin. It is the story of Paul and Louise Grappe, a young couple living their golden years before the Great War breaks out. THE FIREMAN With a summer heatwave raging in the south of France the fire brigade have their work out dealing with outbreaks of fires all over the terrain, some of them the deliberate work of criminal gangs. Pierre Jolivet examines how the firemen cope in the face of overwhelming odds, not least because of internal conflicts between two of the officers in charge. An uncanny prelude to the blazes that caused such devastation this year on the Côte d’Azur. FRIDAY 8 DECEMBER MERCENARY The odyssey of Soane, a young Polynesian, who leaves everything behind to try his luck in France as a rugby player. French, although not considered such, Soane has a thirst for freedom, but struggles to get the recognition that he deserves SATURDAY 9 DECEMBER BAY OF ANGELS A mild-mannered banker (Claude Mann) becoming obsessed with roulette. Along the way, he also becomes obsessed with an aloof platinum blonde (Jeanne Moreau) who seems to live at the roulette wheel. She returns his attentions until revealing that it was all a ruse, brought on simply because she thought he brought her good luck. It’s triumph of style, from Jean Rabier’s stunning camerawork amid sun-splashed Riviera locations  to Moreau, looking resplendently like Bette Davis, to her entrance flashing across a succession of mirrors in the penultimate shot. BEFORE SUMMER ENDS After five years in Paris, Arash has decided to return home to Iran, but his fellow Iranian natives Hossein and Ashkan convince him to take one last trip through the South of France. As the best friends drive, drink lots of beer, and meet a pair of female French musicians, the trio experiences the thrill of a road trip imbued with a wistful longing for home. This artfully photographed non-fiction comedy beautifully captures the expat experience SUNDAY 8 DECEMBER A WOMAN'S BACK A moving, beautifully modulated adaptation of Guy de Maupassant’s first novel, in which a young noblewoman copes with the loss of ideals. Stephane Brizé (The Measure of a Man) offers a dazzling mosaic of the trials and tribulations spanning 27 years in the life of Jeanne (Judith Chemla, Camille Rewinds). THIS IS OUR LAND This timely drama follows a young nurse and mother named Pauline (Émilie Dequenne), who is recruited by a right-wing politician resembling Marine Le Pen (Catherine Jacob) to be the approachable face of the National Front. Although Pauline is not particularly concerned with politics, she is seduced by the promise of an increased salary to support her family and the opportunity to make her country a safer place.

(Bad Luck Banging or Loony Porn, BFI London Film Festival, Friday 08 October 2021 18:00 Curzon Soho Cinema, Screen 1) https://whatson.bfi.org.uk/lff/Online/default.asp "Bad Luck Banging Or Loony Porn" Emilia (Katia Pascariu), a school teacher, finds her career and reputation under threat after a personal sex tape is leaked on 'The Internet'. Forced to meet the parents demanding her dismissal, Emilia refuses to surrender to their pressure. The first lockdown ended in Romania at the end of May. The second wave of 'Covid-19' comes at the beginning of July. The number of cases is rising. How to interact with people. When we were young, we really admired all the crazy shoots we read about; "Way Down East", "Aguirre", "Apocalypse Now". We still admire them, but we're too weak. We should not risk the life or health of anybody when it comes to shooting. No film in the world is worth someone contracting even a common cold. All characters wearing masks. Wearing a mask in severe heat for 12 hours a day can be horrible. So, it's quite disappointing to have a few people every day taking off the mask whenever they can. We see it as a lack of respect, a kind of 'Fuck You', We don’t care about anyone else, we want to feel good even if we can infect you. This sometimes make the atmosphere tense. The masks are part of our daily life and the film captures this moment, to find the anthropological aspect of the mask-wearing. If you go down on the street during this time, the signs that remained, posters for concerts, empty restaurants, and so on and so forth are already signs of a non-existent reality. Cinema has this possibility to capture things, to capture the signs of the time passing, to make a capsule of the moment in many ways. It's about real-life stories from Romania and other countries, of teachers being expelled from schools where they're teaching because of what they're doing in their private lives; live-cam sex chat or posting amateur porn recordings on 'The Internet'. The discussions is so heabted, it makes us think that although the topic seems trivial and shallow, there must be a lot more behind it if reactions to it are so powerful. The film has three parts which engage each other in poetic ways, understanding poetic according to Malraux’s definition. Without doubt all true poetry is irrational in that it substitutes, for the established relation of things, a new system of relations. While the film title is mostly self-explanatory, it's subtitle, a sketch for a popular film, can benefit from an explanation. Malraux once noted that Delacroix, though affirming the superiority of the finished painting over the sketch, kept many of his sketches, whose quality as works of art he considered equal to that of his best paintings. The film looks like if it's form is left open, unfinished, like a sketch. The film could be easy like a summer breeze and because of it's tabloid-like topic. But it's not a real popular film. Only a sketch of a possible. What's obscene and how do we define it? We're used to acts which are much more obscene, in a way, than small acts like the one that set off the uproar we see in the film. The film clashes these two types of obscenity, and to see that the one so-called obscenity in the porn video is nothing compared with what's around us, but that we don’t pay attention to. The film tells a contemporary story, a small one, a little story. If history and politics are part of the film, that's because the story itself has a deeper meaning if we see it in a historical, societal and political context. Obscenity is the theme of this film and the viewers are constantly invited to compare the so- called obscenity of a banal amateur porn video with the obscenity around us and the obscenity we can find in recent history, whose traces are all around. So, the viewers should make this montage operation. Montage will be precisely one of the fundamental responses to this problem of constructing historicity. Because it's not oriented towards simplicity, Montage escapes theologies, and has the power to make visible the legacies, anachronisms, contradictory intersections of temporalities that affect each object, each event, each person, each movement. Thus, the historian renounces telling a story, but in doing so, succeeds in showing that history cannot be, without all of the complexities of time, all the archaeological strata, all of the perforated fragments of destiny. "Bad Luck Banging Or Loony Porn" delivers an incendiary mix of unconventional form, irreverent humor and scathing commentary on hypocrisy and prejudice in our societies.

The main character Maria is drowning in her complicated and unfulfilled life.Prepared to escape it all, by drowning herself in the sea, she ends up saving a man from drawning. There is a sense of mysticism intertwined with an undeniable reality conveyed throughout this bewildering film.

(Release Info London schedule; August 6th, 2018, Landmark) "The Spy Who Dumped Me" "The Spy Who Dumped Me" tells the story of Audrey (Mila Kunis) and Morgan (Kate McKinnon), two best friends who unwittingly become entangled in an international conspiracy when one of the women discovers the boyfriend who dumped her was actually a spy. Audrey and Morgan, two thirty-year-old best friends in Los Angeles, are thrust unexpectedly into an international conspiracy when Audrey’s ex-boyfriend shows up at their apartment with a team of deadly assassins on his trail. Surprising even themselves, the duo jump into action, on the run throughout Europe from assassins and a suspicious-but-charming British agent, as they hatch a plan to save the world. They embark on an action-packed international adventure after they discover that Drew (Justin Theroux), who recently dumped Audrey via text, is actually a spy. Armed only with their wits, Audrey and Morgan race through several European capitals, hunted by a host of top-secret operatives who want to help them or kill them, or both. These include taciturn British agent Sebastian Henshaw (Sam Heughan), pretentious jerk Topher Duffer (Hasan Minhaj), calculating spy boss Wendy (Gillian Anderson), and cold- blooded teenage assassin Nadedja (Ivanna Sakhno). As they learn to navigate the high-octane world of gun battles, car chases and daring escapes, the two best buds quickly learn that they can trust no one, except each other. Audrey and Morgan are the best of friends, and stronger than they know. Audrey is a person who thinks a lot, she’s very clever and smart, but she’s also her own worst enemy because she thinks enough to doubt herself, and if she doesn’t think something’s going to go well, she’ll play it safe. Morgan is pure heart, emotion, impulsiveness, she’s always putting herself out there, she’s a born performer, she’s been to every acting camp, singing camp, acrobatics camp, she’s that person. It's the character's differences that make them a great team. They've complementary skill sets. Morgan’s always saying; we can do it, we got this; she’s really confident. Audrey’s the one who’s thinking five steps ahead. They end up having both the skills necessary to get them through by the skin of their teeth. It’s Audrey’s craftiness and Morgan’s complete fearlessness that leads to a lot of the comedy and makes them a good match as friends. They bring out the best in each other. Like many best friends, Audrey and Morgan have shared goals, but very different personalities. Audrey is very gun-shy, and doesn’t lie well, is nervous in life, is self-conscious at all times, and plays life very safe. Morgan is her counterpart who's a struggling actress, who views life as one giant audition, and is constantly doing voices and characters, takes risks and chances, and goes balls out. The two of them kind of collide and go on this adventure together. "The Spy Who Dumped Me" is built as a genre-bender, two women at the center of an action-packed spy caper. This is Bridesmaids meets Bond. Central to "The Spy Who Dumped Me" is the deep and true friendship between the two main characters, Audrey and Morgan. We've all these movies about male friends, and we don’t have as many movies about female friends. We've women in romantic comedies, but we don’t really see women with their friends and how ridiculous and relatable those relationships can be, and yet for many women that's the most important relationship in their life. Everyone has a best friend, and everyone loves and hates their best friend at different times in their life. As the story unspools, the two average girls start to build confidence, an important narrative arc. Two types of movies we like to see are movies that show people being funny, relatable and self-deprecating as they go through their very mundane problems, and then movies where you get the total transporting yourself to another world fulfillment. The idea is about two people who do not belong in an action movie. But they've to survive when they find themselves in this really, really aggressive testosterone-y Bourne Identity kind of world. The story is about discovering yourself, testing yourself and exceeding what other people’s expectations might be. The way female friendship is presented in the film is natural, smart, inspiring and exciting. It’s part road trip, part best-friend movie, part travel log, part spy movie, as the characters discover their inner bad-ass with their best friend. Sometimes some of the moments in a movie that feel the most authentic and the most improvised feel that way because they're the most authentic and the most improvised. The movie combines what draws people to see an action movie and what draws people to see a female friendship movie. And the wish fulfillment of just leaving your comfort zone and going into a crazy vacation with your best friend. You know, neck cracking and ball-kicking and snapping and shooting. That's always fun! It's a female driven action comedy that dispatches with the guys. You’re going to be smiling, laughing your ass off, and then you might shed a tear at one point. But it will be a good tear.

(London, BFI Southbank, 0 Belvedere Rd, London SE1 8XT, United Kingdom, Friday 12 August 2022 18:15, NFT1) "My Old School" In 1990s Scotland, Brandon Lee (Alan Cummings) enrolled at a well-heeled school in Glasgow. The events that followed became the stuff of legend. He seems a little different from the other 16-year-olds. A little wiser, a little more worldly perhaps and more in need of a shave. He eventually became one of the cool kids with a very promising future. Then people started to discover that Brandon was not who they thought he was. Brandon Lee said his mother had been an opera singer, and that she had traveled the world with him until she died in a car crash. The other school kids in the posh Glasgow suburb took a while to get used to him, but little by little, he won everyone over. He defended the weak, was music-savvy, astounded the teachers with his knowledge, and even starred in the school play(and kissed a girl. But then something about his story didn’t add up anymore, and his stunned teachers and fellow schoolboys could not understand how they had missed it. What followed over the next two years would become the stuff of legend. Brandon had been privately tutored in Canada while he accompanied his mother, an opera diva, on tour before her tragic death. The preternaturally bright scholar surprised teachers by blazing toward his goal of entering medical school, displaying a wealth of knowledge beyond his years. Brandon found friends despite his initial awkwardness. He took bullied school kids under his wing, introduced classmates to seminal retro bands, and even starred in the school's production of South Pacific. The documentary finally reveals the truth behind the story. Featuring interviews with old classmates and teachers, together the film tells how a 32-year-old man tricked his way into the school, and, for the first time, how Brandon Lee’s true identity was revealed. This is a Scottish tale, one that gripped the entire nation when it first broke back in the 1990s, and this documentary retells it from the point of view of the pupils and teachers it all happened to! The teaching staff includes Clare Grogan, and US Billboard chart-topping singer of ‘To Sir With Love’, Lulu. And just like in that movie classic of 1967, Lulu sings the title song, the Steely Dan hit ‘My Old School’. The film looks at one of the strangest and most notorious imposter cases of modern times, which becomes more sensational with every detail revealed. You can fool most of the people, most of the time. The wildly entertaining, jaw-dropping documentary hybrid tells the outrageous story of Scotland’s Great Pretender. Returning to his old school, the film captures the memories of fellow pupils who recall their time with Brandon and the impact he made. Even they didn’t realise the half of it. The film becomes a voyage of discovery through the stories of class 5C. Animated flashback scenes with cartoon characters evoke high school life from 25 years ago. The film also nods to the animation styles of the 1970’s. This is a story that will remind you of your schooldays, who lived through this extraordinary deception and have never forgotten it. written by Gregory Mann

(Release Info London schedule; October 25th, 2019, Cineworld West India Quay, 5 Hertsmere Rd, Canary Wharf, London E14 4AL, UK, 15:30 pm) https://www.google.de/search?oq=&aqs=mobile-gws-lite..&source=hp&q=Countdown+showtimes+London "Countdown" If you could know the exact moment of your death, would you want to know? In "Countdown", an ambitious, young nurse Quinn Harris (Elizabeth Lail) is pressured to download an app that claims to predict exactly when a person will die. As her friends and colleagues reveal the many decades left on their lives, including Dr. Sullivan (Peter Facinelli), Quinn is shocked to see her clock will run out in only three days. Initially, she dismisses the app as a passing internet hoax, but when she discovers people are violently killed at the exact second their clocks run out, she starts to fear the hype. To change her fate, Quinn cancels plans on the day the app says she will die, breaking the user agreements and unleashing something truly evil. With her clock ticking away and fearing a sinister figure is following her, she meets Matt Monroe (Jordan Calloway) whose time is also running out. As the two make increasingly desperate attempts to delete or alter the app, Quinn realizes something worse than death is fast approaching. To save her own life, she must find a way to confront the demons haunting her before time runs out. A pivotal part of the film is ensuring 'The Demon' summoned if we choose to cheat death is truly terrifying. You can learn your fate and you can die a natural death, but if you take that information and try to change your fate, you’ve broken the rules, and you’re his. He’s a hunter who enjoys the chase and wants every second until your last to be a nightmare. "Countdown" choses to slowly reveal 'The Demon' to create a sense of suspense, starting with a shadow until you see more features of an evil that feasts on souls. As part of the chase, the demon also feeds on the fears we never speak of the inner demons that eat away at us. While Quinn appears to have her life together, she has ghosts lurking under the surface. Quinn blames herself for the loss of her mother and the strain it has caused her family, especially with her younger sister Jordan (Talitha Bateman). Clearly, Quinn is expected to take on a motherly role within her family, but she’s focusing on creating a life for herself. We all have these demons inside that we bury, and for Quinn, this is inhibiting her from having a close relationship with her family. This is already haunting her by the time she downloads the app. Quinn takes her family for granted, rarely speaking with them. When she attempts to reconnect with those she loves after downloading the app, something worse than death is quickly coming for her and she realizes it might be too late. A central theme of the movie is you only have so much time with the ones you love. Cherish those moments because you never know when your time will run out; so put down the phone. The film also subverts certain horror tropes, for instance, when you're dealing with a demon you need a serious, stoic priest. Father John (P.J. Byrne) takes to the cloth as a fan of the Bible’s more morbid teachings. He has this enthusiasm for the Bible and it's demons. The concept of "Countdown" is inspired by a simple moment; setting a timer on a smartphone. What if this timer is ticking down to when you die? It’s probably not a normal thought, but something just clicked. It's about a demonic app that tells you when you will die. 'The Final Destination'  franchise meets 'The Ring', in app. With "Countdown", this timeless temptation of wanting to know when you will die is tied to a timely theme, the obsession with our phones, giving it the foundation for a high-concept horror film capable of pushing cultural buttons. We all have this relationship with our phones, so much so, that people are more connected to their phones than their families. The film strikes a nerve while also mixing fear with fun. This film is terrifying, and it needs to be, but there’s also an element of comedy. Moments of levity go hand and hand with great horror, and this film does that in an exceptional way. It's the premise for a fun horror movie rooted in a concept that sticks with audiences. It’s an exciting ride with great scares that poses a very primal question, which starts a lot of conversation. It also shines a light on how dependent we're on our devices in a highly original way by showing how they control our lives, and potentially our deaths. It’s a smart, scary movie that knows not to take itself too seriously, there will be nothing like it in theaters. Comedy and horror shared key beats. While comedy sets an expectation and subverts it, horror establishes patterns, then surprises the audience. They've so much in common. The way you set up a horror set piece and the way you set up a physical comedy set piece. The premise of the film doesn’t lend itself to a relentless, gothic tale of horror. Moments of intensity are followed by levity so the audience can breathe again. You’ll be scared, but you’ll also laughm Those who find scary movies too unnerving will enjoy this film because there’s a good balance of frightening to fun. You’ll jump, you’ll laugh, you’ll be scared. It’s a fun, fast, entertaining ride that grabs you in the first frame and doesn’t let you go; that's the goal.  

(Release Info London schedule; June 22nd, 2018, Curzon Victoria, 13:30) "In The Fade" Out of nowhere, Katja's (Diane Kruger) life falls apart when her husband Nuri (Numan Acar) and little son Rocco (Rafael Santana) are killed in a bomb attack. Her friends and family try to give her the support she needs, and Katja somehow manages to make it through the funeral. But the mind numbing search for the perpetrators and reasons behind the senseless killing complicate Katja's painful mourning, opening wounds and doubts. Danilo Fava (Denis Moschitto), a lawyer and Nuri's best friend, represents Katja in the eventual trial against the two suspects; a young couple from the neo-Nazi scene. The trial pushes Katja to the edge, but there's simply no alternative for her, she wants justice. This film is inspired by the 'NSU' murders in 2011. 'The German Neo-Nazi' group 'National Socialist Underground' perpetrated a series of xenophobe murders between 2000 and 2007 throughout Germany. The big scandal was that the police focused their investigation on people within the community of the victims, blaming drug or gambling connections. Police pressure was so intense that even the press and the community themselves began to have similar suspicions. The film is broken into three parts. The first establishes Katja’s relationship with her family and takes us through the bombing. The second us into the courtroom where the perpetrators of the bombing stand trial for their crimes. The third follows Katja as she decides what to do in the wake of the trial. The courtroom scenes are some of the best in recent memory. Danilo Fava puts in a rock solid turn Katja’s lawyer. The scenes in which he's debating the defense are exciting, and it’s just as interesting to watch him work the system on both strategic and methodical levels as it's to study the differences between a German trial and an American one. The slight alterations of format allow room for all the high energy courtroom bickering that procedural fans know and love, but with a decidedly unique flavor afforded to it by it's foreignness. For example, the way that the lawyers punctuate their ranting knowledge-drops with a loaded thank you evokes things like "Philadelphia" and "A Time Fo Kill", but in a way never before seen, much like your honor which is dramatized by litigants to great effect. The third act brings us into what should be a typical revenge tale, and in a lot of ways it's, but "In the Fade" is less concerned with the catharsis of vengeance than it's the ethical questions that revenge naturally raises. Katja has her own morality, her own definition of justice. In that way, Katja embodies something dormant inside of us that should always remain dormant. This film is about that universal feeling of grief and it's many layers. Here’s hoping this gem gets a wide release.