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- Character and costumes: Manchester By The Sea (2016)In Film Reviews·June 8, 2018Lee Chandler experiences a life changing event, and with this internal transformation we witness an external transformation, thanks to the effective costume designs of Melissa Toth. During flashbacks showing Chandler’s earlier life with a wife and children, he dresses in light and colourful clothing, such as a bright mustard t-shirt and beige shorts. These colours reflect the presence of a brighter and more comedic personality at this point, and as well as the presence of purpose in his life as a father and husband. During the present, Chandler has lost his children and subsequently his wife. This is paralleled with the loss of colour and brightness in his wardrobe. He is now seen is dark shades of blue, grey and green. This loss of colour and variation evidences his loss of joy and expression of individuality. The absence of boldness/brightness matches his absence of purpose and love/emotions in his life. Black is the colour of grief, so utilising this colour predominantly works to evidence the enduring sorrow Chandler is facing. It also emphasises the mysteriousness of this character, highlighting his loss of ability to connect to those around him in the way he used to. Furthermore, the contrast in styles and colours expresses the change in his life. Flashbacks to Chandler’s previous lifestyle show a variety of activities, such as going fishing with his nephew, or hanging out with his friends, hence a wide-ranging colourful wardrobe. Now, Chandler is mostly seen working and spending time alone and therefore restricts himself to more monotonous styles and colours. These seemingly subtle yet important developments in wardrobe assist in the shifting of moods and circumstances, as well as helping to navigate where in time the scene lies.0086
- "High Life" written by Gregory MannIn Film Reviews·April 16, 2019(Release Info U.K. schedule; May 9th, 2019, Picturehouse Exeter, Bartholomew St W, Exeter EX4 3AJ, United Kingdom, 12:00 pm) "High Life" Deep space. Beyond our solar system. Monte (Robert Pattinson) and his daughter Willow (Jessi Ross) live together aboard a spacecraft, in complete isolation. A solitary man, who uses his strict self-discipline in a shield against desire, his own and that of others, Monte fathered the girl against his will. His sperm was used to inseminate Boyse (Mia Goth), the young woman who gave birth to the girl. They're members of a crew of prisoners; space convicts, death row inmates. Guinea pigs sent on a mission to 'The Black Hole' closest to Earth. Now only Monte and Willow remain. And Monte is no longer the same. Through his daughter, for the first time, he experiences the birth of an all-powerful love. Willow grows, first of all into a young girl and then into a young woman. Together, father and daughter approach their destination; the black hole in which time and space cease to exist. Monte is part of a motley crew of convicts sent in a spaceship to seemingly exploit an energy resource from a 'Black Hole'. But they're the ones exploited as guinea pigs for sexual experiments by their medical officer Dr. Dibbs (Juliette Binoche). Dr. Dibs is a sort of 'Strangelove' in space, slightly crazed and dangerous. And it's wild to see Willow learning to walk in the corridor of the spaceship, because those truly were the baby's (Scarlett), first steps, taken in front of a camera. At the end of the day she's happily cooing and walking. It’s one of the favorite scenes. That's where we see on Monte's face that his beauty doesn’t get in the way of his goodness. Or rather, that his goodness is beautiful to see. The other crew members are Tcherny (André Benjamin), Nansen (Agatha Buzek), Chandra (Lars Eidinger), Mink (Claire Tran), Ettore (Ewan Mitchell), Elektra (Gloria Obianyo). All of them are wonderful individually and collectively. The same thing about them all; rebellious, broken youth. What unites them is that they’re a group of delinquents, from the community of men and women on death row. In exchange for so-called freedom, they agree to be sent into space to be used as guinea pigs for more-or-less scientific experiments on reproduction, pregnancy, birth; under the strict supervision of a doctor who also has a serious criminal record. It’s a prison in space, a penal colony where the inmates are more or less equals. A sort of phalanstery where no one is really giving orders, even the woman doctor, whose task is to collect sperm like a queen bee. The queen bee is in charge, but the real leader, the only absolute and imperceptible commander, is the spaceship itself, programmed to lead them all to a 'Black Hole', to infinity, to death. A sort of squat house, drab, dirty, poorly lit. There's a main corridor and cells on both sides. On the floor below are a medical lab, a morgue and a greenhouse garden. That earth is their Earth, the only thing that reminds them that they're earthlings, men and women of the earth. For the doctor’s lab, the film shows the same simplicity, the strict minimum; test tubes, a few instruments, a chair for gynecologic exams. None of the typical science fiction props, laser guns, disintegrators, teleportation devices. The same goes for weightlessness. There's no need for weightlessness because the spaceship is accelerating close to the speed of light. Terrestrial gravity, gravity in every sense of the word, reestablishes itself, because gravity is the effect of acceleration. All these men and women have in common is the English they speak. It's the only international language, along with Russian, that's spoken on modern-day space missions. Although soon people will be speaking Chinese in space. English, or more precisely the American English spoken in the film, serves another purpose. There's a flashback in the film that could be considered explanatory. The scene is shot on the roof of train on the frontier between Poland and Belarus. On this train are stowaways, hobos, some of whom we may recognize from the space station. Is it their past? It's more like a melancholic allusion that can evoke not only 'Kerouac’s On the Road' but also those convoys of outsiders and misfits that cross America from east to west. Train, bridge, forests. Other colors which contrast with film’s main palette. In point of fact, that scene is shot in 16mm, not in digital, which tends to rub out nuances. On the computer screens in the spaceship, we see three images from Earth. A random rugby match, an old documentary and a home movie. The documentary is a piece of 'In The Land Of The Head Hunters'. It's not an image of piety, compassion or nostalgia, but one of extreme sadness. What has become of them? Down what fatal rabbit hole did they disappear? These three groups of images, pixelated by the spaceship’s computers, are like archives of times past that can never be regained. Every passenger on the spaceship dresses similarly, in a sort of work uniform with the number 7 on it. 7 is the number of the spaceship. It’s like it is tattooed on their bodies. It implies that this spaceship is one in a series. At an important moment in the film, spaceship 7 docks with another spaceship, number 9, in which the only survivors are dogs; unless it's part of different experiment for dogs only. The film shows this encounter with animality, a mirror of our own, a challenge to our pseudo humanity and the ghoulish fate we've set aside for our so-called pets. The first living creature sent into space was a Russian dog Laïka, who didn’t survive her return to Earth. Sexuality is very present in "High Life" but is treated funereally. Sexuality, not sex. Sensuality, not pornography. In prison, normal sexuality isn’t really on the agenda. But if the prison is also a laboratory destined to perpetuate the human species, sexuality becomes even more abstract, if it's just to reproduce. If the men have to set aside their sperm for the doctor, yes, they get to cum, but for science. Before 'Christianity', marriage served one purpose; procreation. Sexuality is about fluids. As soon as sexuality stirs within us, we know it’s all about fluids: blood, sperm. We've to reduce the sex act to masturbation, more or less technically assisted by the Fuckbox fitted with a dildo for Dr. Dibs, who gives it her all, but in total solitude. This scene is, in part, dark and useless. But what's useful, in the end? Trying to cum isn’t useless. All of her strength is in her back. Later, she goes at night to steal the sperm of Monte, who's knocked out by sleeping pills. It’s a robbery. And definitely a rape. But we see Monte moaning, comatose but not in pain. It’s the story of a man alone in space for the rest of his life, with a baby most likely his, who will become a young woman and eventually his femme fatale, if ever he makes up his mind; this sort of knight, this 'Perceval', this scout of another story, to break his vow of chastity. This is what happens at the end of the film when the young woman, who has no other man on hand, who doesn’t even know that this man his handsome because she has never had anyone to compare him to, makes the first move. We're approaching the forbidden planet, the absolute taboo. A girl is also a woman. Incest is the quest for the ultimate in sex, because it's forbidden. What would you expect from a space opera directed by Claire Denis? Well, everything. "High Life" does to sci-fi what Denis "Trouble Every Day" did to vampire films; it’s a radical interpretation where the filmmaker subverts tropes and genre while preserving their very essence. The film explores Denis favourite themes, bodies and outsiders, which are desired and rejected at the same time. Mind-bending and very organic, "High Life" is a crossover between "Solaris" and "Alien", but without needing any monster. The shape of spaceship 7 doesn’t correspond to typical science fiction criteria. The spaceship looks like a box of matches. But it’s not a whim or a fancy. Not to play the astrophysicist card. When you leave the solar system, there's zero resistance, so the spaceship can be any shape as long as it's equipped with an energy source to keep it moving. The missile-like aerodynamic shape becomes useless or absurd. It’s above all a fascinating work on on how to keep one's humanity in the space void. The film recalls a country where the death penalty still exists, i.e. certain states in 'The US'. The characters are presented as men and women without a past. There's an earlier version of the script that referenced their former lives. The film makes a point of not over-fictionalizing the characters; they've all probably committed terrible crimes, but we don’t pursue it. Their history, collective or individual, takes place in the present and; who knows? In the future, even if for most of them the future will take the form of a cemetery under the stars. They all are contemporary community, utopians, hippies of a special sort, who've gone from juvenile detention centers to prisons and who do not want to live in any society other than their own. Desire and solitude, that’s the main theme. More or less. But above all, "High Life" is not a science fiction film even if there are healthy doses of fiction and science thanks to the precious participation of the astrophysicist Aurélien Barrau, specialist in astroparticle physics and black holes. The film takes place in space but it’s very grounded. It's a film about despair and human tenderness. About love, despite everything.0019
- "Disobedience" written by Gregory MannIn Film Reviews·November 9, 2018(Release Info London schedule; November 24th, 2018, Curzon Soho, 11:00) "Disobedience" A woman returns to her 'Orthodox Jewish Community' after the death of her rabbi father and stirs up controversy when she shows an interest in an old childhood friend. In a 'Jewish Orthodox Synagogue' in Hendon, the frail Rav Krushka (Anton Lesser) collapses whilst giving a sermon. As funeral rites commence in London, the Rabbi’s exiled daughter Ronit (Rachel Weisz) is living her life as a photographer in Manhattan. During a photo shoot she's told by 'The Brooklyn Synagogue' of her father’s death; wounded by the news and in a vulnerable state, she gets drunk in a local bar and sleeps with an undetermined man. Ronit flies home to London where she feels out of place in 'The Orthodox Jewish Community' she left behind. She's greeted at the home of Dovid Kuperman (Alessandro Nivola), a son figure to the Rav, who's taken aback by the unexpected return of his childhood friend. Her welcome inside the home is hostile from those in the community gathering in the Rav’s honour. Her aunt Fruma Hartog (Bernice Stegers) greets her more openly, though the air is frosty between Ronit and her uncle Moshe (Allan Corduner). Ronit is both upset and angry that she was not informed of her father’s illness and that her father’s obituary claims he was childless. Despite tension surrounding Ronit’s sudden departure in the past, Dovid invites her to stay with him and his wife. Ronit is shocked to discover that he's married to their former best friend Esti (Rachel McAdams), now a teacher at an Orthodox girl's school. It's uncomfortable between the two women; a complicated past is clearly hanging over them. The next day Ronit visits her father’s grave. After further prayers at their home, Dovid, Esti and Ronit go to a dinner at the Hartog house with Rabbi Goldfarb (Nicholas Woodeson). Ronit tries to talk to her Uncle about selling her father’s house, but he tells her now is not the right time for such a topic. Conversation turns to Ronit’s successful career as a photographer and Goldfarb's daughter Rebbetzin (Liza Sadovy) questions why she goes by Ronnie Curtis (Adam Lazarus) after seeing one of her photos in a magazine. Esti, quietly joining in the conversation, states that women change their names all the time when they get married and lose their own history. Everyone is silently shocked at Esti’s controversial comment. Rebbetzin continues questioning Ronit’s life in New York and asks why she's still not married, as it’s the way it should be for a woman. Ronit disagrees, calling marriage an institutional obligation and if she had stayed in the community and been married off, she would have killed herself. Everyone is shocked by her outburst and Ronit, blaming her jet lag, excuses herself to go home. Dovid, upon Esti’s request, leaves to walk her home. Ronit breaks down to Dovid, hoping her father knew she truly loved him. Dovid, struggling against the rules of his religion, tries to comfort his childhood friend without touching her. Ronit visits her uncle Hartog at his wigmaker’s shop to continue the discussion of selling her father’s house, but is informed by Hartog that the Rav left the house and all its contents to 'The Synagogue'. She leaves and soon runs into Esti outside a supermarket. They visit the Rav’s house together, a rundown mess full of medical equipment, it is not so much the house that Ronit wanted, but for her father to acknowledge her in his will. Esti admits that she does not want Ronit to leave again; past feelings are reignited and they kiss, at first timidly as Ronit pulls back, and then passionately. Ronit retreats once more, confused about her feelings. They leave the house and Esti confesses that she had called 'The Brooklyn Synagogue' to let Ronit know of her father’s death. She tells Ronit that she married Dovid, a man she doesn’t love romantically but respects, as she was mentally unwell following Ronit’s sudden departure and married their best friend upon the Rav’s suggestion. As they relax into each other’s company and kiss again, they're interrupted by Hinda (Clara Francis) and husband Lev (Mark Stobbart) and are unsure how much they saw. Esti rushes home, tense; she almost embraces Dovid but their marriage still lacks the passion she has with Ronit. At school, Esti is summoned to see the headmistress Mrs. Shapiro (Caroline Gruber) where Hinda and Lev are waiting to confront her. Allegations about Esti and Ronit also plague Dovid when he's asked by 'The Synagogue' to take on the Rav’s work. Ronit waits for Esti at the school gates, where Esti tells her about the formal complaint Hinda and Lev have submitted against her. Upon Ronit’s suggestion, they escape the close knit community and head into central London for the day. Ronit and Esti continue to be conflicted in their attraction to one other; Esti feels guilty and is trying to lead a good life in line with her faith, but cannot help but desire her former lover. They go to a hotel where they make love, completely at ease and euphoric in each other’s company. They talk about how Ronit’s father first learnt of their relationship all those years ago. Esti returns home late at night, where Dovid is waiting in their bedroom. He tries to get close to her but his yearning to be intimate with his wife is rebuked once again by a confused Esti. Nauseous the next day, Esti begins to wonder if she's pregnant. Dovid confronts Esti about Mrs Shapiro’s accusations and she admits what happened between them. Dovid’s anger almost turns violent as he releases his frustration at his wife’s inability to embrace their life together. Ronit, having overheard the argument, tries to persuade Esti to leave her husband, but Esti struggles to come to a decision. They both try to convince each other, and themselves, they're happy in their lives. Unable to cope with the current events, Dovid seeks refuge in a quiet Synagogue library. The atmosphere is tense when he returns home for dinner with Ronit and Esti. When Ronit announces that she has booked a flight back to New York that night, Dovid seems relieved and quietly asked his wife what she plans on doing now. Ronit and Esti share a difficult goodbye, both unable to share their true feelings. Esti accuses Ronit of taking the easy option by leaving, Ronit storms out the house and Esti slams the door behind her; both heartbroken at the recent events. In the middle of the night, Esti leaves the house and returns to the hotel room with a pregnancy test. Waking up at the airport the next morning, Ronit receives a panicked phone call from Dovid saying Esti is missing. After trying to calm him down, she continues to check into her flight, but later decides to leave and help Dovid in the search for her. Returning home after failing in their search for Esti, Ronit is still angry that Dovid didn’t tell her of her father’s illness. Esti returns from hiding and, having heard everything, announces her pregnancy. Dovid is joyous, believing a child will solve all their marital problems, but Esti instead asks for freedom for her and her child. She was born into the community and wants to give her child the freedom of choice she never had. Dovid is speechless and Esti feels guilty for crushing her husband’s dreams of becoming a father. Ronit and Esti attend the Hesped at the Synagogue, intimidated by the judgemental looks they receive. Esti tries to make peace with Dovid, but he ignores her. Moved by the temple’s sacred atmosphere, Ronit asks Esti to be with her in New York. They clutch hands as Dovid takes to the podium, where he struggles to deliver the official speech on the Rav’s passing. Seeing Ronit in the crowd, he instead contemplates the notion of freedom and choice, a topic that the Rav spoke about in his final sermon, and grants Esti the autonomy she has requested. Dovid declines 'The Synagogue' position and abruptly leaves the Hesped. Outside, overcome with emotion Esti and Dovid hug. Ronit watches on in the distance until Dovid extends an arm and the three friends have a long heartfelt hug together. Next morning, Ronit prepares to leave for the airport. She bids a quiet farewell to Dovid outside his bedroom and goes to see Esti, who has slept on the sofa. They say goodbye; it seems Esti has decided against joining Ronit in New York. As Ronit’s taxi pulls away down the street, Esti runs after her and the pair share a long goodbye kiss, promising to remain in contact. An emotional Ronit visits her father’s grave one last time and takes a photo, achieving a sense of closure over his passing and the recent events. Ronit is this modern, free spirited woman who has run away from her origins. Esti has stayed in the community but has run away from her true self. By letting Ronit know of her father’s death, Esti not only allows Ronit the opportunity to reconnect with her origins, but also calls her own destiny; knowing this is her last chance to be set free. And there's this other important element of Dovid, the Rav’s spiritual son and natural successor. The days of mourning allow all these passions and repressed feelings to come out and a new order is established. During the years, Esti has become a master in disguise, hiding behind wigs and manners. But deep inside she’s a desperate woman trying to reconnect with who she's. Even though Esti is navigating through a lot of complex situations, there's something very stable about her that allows the character to be strong and fragile at the same time Ronit and Esti are the same person divided in two. One escaped and became free, the other stayed and embraced the religion; but both paid a big price. Ronit is living with her guilt that she has erased her father from her own life after he disowned her. When she left, she chose not get in contact with him. There's this regret of being too late to forgive each other. To find forgiveness and peace with a parent before they die is incredibly important to carry on with your life. A part of her story is about how you can leave where you’re from, but you can’t really leave it behind; you carry it with you wherever you go. You think you're free living your life, but you need to find closure on certain things. For Ronit not to be contacted about her father’s illness, she’s denied closure to come and say goodbye which is very painful. Ronit questioned the religious laws; her free liberal thinking is immensely dangerous to the tiny closed community. There are so many rules and laws and Ronit questioned them hard and was seen as a rebel and anti-authoritarian as a result. It's a love story between all three of them and how their relationships evolve and their lives are affected by these days of grief. Esti is a gay woman who's in a loving heterosexual marriage. In her religion, homosexuality is considered a sin, but she believes in god so she’s trying to do the right thing by her marriage. She's in a lot of psychological pain because of this decision and Ronit’s return releases all her desire to be free. At the same time, she doesn’t view her life as a prison because she loves Dovid as a dear friend. Dovid is an innately conservative and spiritual man, who was Ronit’s father’s favourite student. Growing up, Ronit was jealous of their relationship because they could sit around talking about Judaism for hours, which didn’t appeal to Ronit. So there’s always been a bit of sibling rivalry between the two of them, but Dovid is a decent, morally good man. Even though the community is warning him about the trouble Ronit could bring, he knows she is mourning her father and should be involved. When his decency is tested in a very serious way, he discovers an existential spirituality outside any given doctrine, and Alessandro has really tapped into that and the sense of righteousness that you need play a Rabbi. At a young age, Dovid's father saw a quality and a connection with god in Dovid which could help bind the community together in a way that he had, so he became his pupil. Dovid’s adolescence would have been spent with this man, which is how he came to be so close to Ronit and her best friend Esti, who he might not have known otherwise because young men and women are kept quite separate in 'The Orthodox World'. After Ronit left, he became adopted by him as his only child so the situation is difficult for everyone. The man was essentially his father. His death at the beginning of the script really sparks of this confusing situation where she comes back to mourn him and there mourning him like a father. Dovid represents someone who has committed his life to his religion in a very intense and profound way, and has to reconcile those beliefs against his sense of goodness and his love for the people he's closest too. It really explored that dilemma for him in a detailed, complex and beautiful way. Dovid and Esti have a loving relationship built on deep friendship and full of respect. When Ronit left so suddenly, Esti was destroyed and Dovid was there to pick her up, so she’s very grateful to him for saving her life in some ways, but she might still be with him out of certain obligation and gratitude. She's living a life she thinks is good enough by ignoring her sexuality and making the choice to be with Dovid. Esti is a real believer in Judaism and being a good Jewish wife and member of the community, it’s a belief that lives deep inside her. So to have her sexuality deemed not acceptable in her community creates an inner struggle for her. For the most part, she believes she's happy but doesn’t realise she’s cut off this major part of herself. It’s difficult for Esti to have Ronit return and not be able to openly comfort her, she's very self conscious about how she acts and respectful of Dovid as they are the pillars of the community. She also feels the real sting that she left, not just her but Dovid as well. They're a great group of friends that only had each other and when Ronit left, it was a real betrayal to both of them. But somewhere deep inside, Esti knew that things needed to change, which is why she gets the message to Ronit that her father has passed; her return is the catalyst for Esti to revaluate her choices. This film is based on Naomi Alderman’s 2006 novel ‘Disobedience’. What really grabs about the novel is the theme of transgression in the modern world where there's almost nothing taboo anymore. The term disobedience means very little unless you find the right community to set it in, like the small 'Orthodox Jewish Community' in North London. If you find a story of transgression within an ordered old fashioned society, you've a great universal drama that anyone can relate to. What responds most in the film is how utterly human these characters are with all their flaws and self-doubt; their forgiveness and their disobedience. We all have a fear of family, as well as a love, and we want to honour the complexity of love and loss in her book. "Disobedience" is a drama of love and the fight for acceptance against the confines of the regimented 'Orthodox Community' in North London. We’re going through a war in which only certain relationships are considered legitimate and who draws the line where and with which authority. This is a story about characters that are willing to change and evolve, but to do so they've to go through very rigid structures and that confrontation resonates with what we’re going through nowadays as a human society all over the world. The 'Jewish Orthodox' background is of course very important but what’s really going on in the film, in a certain way transcends that particular cultural specificity. The heart of the story is very universal. These are people who are full of passion and affection for each other. Sometimes 'The Orthodox' is perceived like a hostile community, ruthless in it's judgement of the outside world. Life is always presenting you with situations that aren’t easily resolved. So ideally people will walk away without easy answers; the best stories are the ones that aren’t packed. Hopefully people will walk away having had their opinions and preconceptions about certain life challenged. The film explores the theme of personal freedom and what it means to follow your own path, it's a story that has an incredible amount of hope in it. "Disobedience" is a very intense journey. The characters are going through a certain turmoil that defines the film and makes it oscillate between different tones. The story explores the whole emotional spectrum of Ronit, Esti and Dovid. They feel very real, very close. You feel like you're sitting at the dining tables and lying in those beds with the characters; Even though we might not know much about the very secretive world of 'London Jewish Orthodoxy', the film generates a very intimate, strangely familiar feeling. It's a story about confused human beings interacting and trying to do the best they can against a background of fixed conceptions. This is a story about characters that are willing to change and evolve, but to do so they've to go through very rigid structures and that confrontation resonates with what we’re going through nowadays as a human society all over the world, where the old paradigms seem to be either obsolete or insufficient.0035
- "Charlatan" written by Gregory MannIn Film Reviews·April 27, 2021(Release Info London schedule; May 7th, 2021, Curzon Home Cinema) https://homecinema.curzon.com/film/charlatan/ "Charlatan" Jan Mikolášek (Ivan Trojan) is the epitome of a plomb and solidarity. He's talented, sensitive, assertive and enigmatic. In his youth and when he's older, regardless of whether he's in private or public, he's a man of action, reason and intuition. A faith healer. Just one glance at the urine bottle is enough for him to know what ails his patient. With fame comes fortune, and this at a time when 'Czechoslovakia' is a pawn in a game being played by the major power blocs. Protected and used by both 'The National Socialist' and 'Communist' regimes, he steps in wherever the system fails. But during the 'Post-Stalinist' years, the political climate becomes unpredictable and his special status is endangered. Along with his assistant František Palko (Juraj Loj), with whom, as the secret police are well aware, he has much more in common than herbal medicine, the charlatan finds his morals being put to the test. Few true stories tread the thin line between good and evil as precariously as that of Jan Mikolášek, a '20th Century' 'Czech' herbal healer whose great success masked the grimmest of secrets. Mikolášek won fame and fortune treating celebrities of 'The Interwar', 'Nazi', and 'Communist' eras with his uncanny knack for urinary diagnosis. But his passion for healing welled up from the same source as a lust for cruelty, sadism, and an incapacity for love that only one person could ever quell; his assistant, František. As a show trial threatens to pry open these secrets and undo him, Jan’s dichotomies are put to a final test, with the fate of his life’s only love in the balance. A personal tale as replete with twists as the century itself, and a reflection on the price one pays for single-mindedly following one’s calling. Based on the true story of Czech healer Jan Mikolášek (1889–1973), who dedicated his life to treating the sick using medicinal plants. He was a very famous healer, an unusual medicine man, who was using unorthodox methods of diagnosis and treatment. Throughout the war and turmoil of 'The 20th Century' he has to choose between his calling and his conscience. Those special skills made him not only well known but also rich. In 'Czechoslovakia' before 'World War II', he became some kind of institution and even during 'The German Occupation' he was able to preserve his status by healing high 'Nazi' officials. He was sure that it would not be different after the war. The communists who took power were also humans. And humans fell sick, felt hopeless and needed the doctor; a special kind of a doctor as well, when others cannot help. But the situation changed when his main 'Stalinist' protector died, and the regime decided to destroy him. He was too different, too rich, and too independent. "Charlatan" tells the story of Mikolášek’s rise and fall. Of his moral fall and of his constant fight with the darkness inside him. It's the story of the mystery of a man, of the mystery of his special gift, of the prize he was ready to pay for it; the story of the paradox of strength and weakness, of love and hate. To tell this story with an epic scope, dozens of years, three different regimes, two 'World Wars', but one, that feels, at the same time, extremely intimate. The film tries to find a sensual and minimalistic language. Static. Quiet. Spare dialogues. Hidden emotions. Extremely subjective passage of time; years are passing in few minutes, minutes are extended, feel like eternity. The film shows a human soul without entering into the depth of psychological analyses, express interiority through behavior. The faces of actors, the tension between the characters, their constant efforts to pass through the armors of each other are what drives the story forward; the background, the big History of 'The Twentieth Century' is reflected in their fate. "Charlatan" explores the link between the private and the political, and the relationship between the passage of time and the story of an unconventional individual.0085
- "The Traitor" (2019) written by Gregory MannIn Film Reviews·July 11, 2020(Release Info London schedule; July 24th, 2020, Curzon Home Cinema) https://www.curzonhomecinema.com/film/watch-the-traitor-film-online "The Traitor" In the early 1980’s, an all out war rages between 'Sicilian' mafia bosses over the heroin trade. Tommaso Buscetta (Pierfrancesco Favino), a made man, flees to hide out in Brazil. Back home, scores are being settled and Buscetta watches from afar as his sons and brother are killed in Palermo, knowing he may be next. Arrested and extradited to Italy by 'The Brazilian' police, Buscetta makes a decision that will change everything for 'The Mafia'. He decides to meet with Judge Giovanni Falcone (Fausto Russo Alesi) and betray the eternal vow he made to 'The Cosa Nostra'. Tommaso Buscetta is fickle and constantly on the move, both in his life and in personal relationships. He’s out of the ordinary, intelligent, charming, effective and endowed with natural authority. A mafioso loyal to 'The Cosa Nostra', but also to his own personal principles, he’s not afraid of challenging authority. From the end of 'The 1970s' to the start of 'The 1980s', he faces the growing strength of 'The Corleonesi', headed by the uncompromising Totò Riina (Nicola Calì). This new small group has no mercy and flouts the basic principles of 'The Cosa Nostra'; they kill women and children and eliminate whatever gets in their way. This group holds no place for Tommaso Buscetta. When in 1982 he moves to Rio de Janeiro with his beloved wife and children, he aims to end his involvement with 'The Mafia'. But there’s no such thing as leaving 'The Mafia', the organization hunts him down. However, 'The Brazilian' police beat them to it and extradite him to Italy. Buscetta then proposes a deal to 'The Italian' judiciary. He’ll cooperate and dismantle 'The Mafia' in exchange for his own protection and survival. He’s soon confronted with the imposing, inflexible and tenacious Judge Giovanni Falcone, and we’re plunged into the depths of 'The Sicilian' organization; murders, shoot-outs and scams. All this provides the backdrop to Buscetta’s account, who turns out to be 'The Cosa Nostra’s' biggest mystery; no one knows why he’s collaborating. He seems motivated by revenge and the desire to dismantle a mafia no longer in line with his values. Buscetta is a traitor for deserting to the enemy, but he doesn’t see himself that way. In the course of his confessions, he highlights the gulf that exists between his mafia and that of 'The Corleonesi'. He intends to do justice to the true 'Cosa Nostra' in this way. Tommaso Buscetta, also known as 'Don Masino', is a fascinating character who left an indelible mark on the history of the fight against 'The Mafia'. Born in Palermo in 1921, the youngest of a poor family with 17 children, he marries early and has two sons by the age of 16. He embarks on a career of crime in 1945 and soon demonstrated his skills, rapidly climbing the hierarchy of 'The Cosa Nostra'. In 1963, pursued by 'The Italian' judiciary, he flees first to 'The United States', then to Brazil. This earns him the nickname 'The Boss Of Two Worlds'. But Buscetta’s empire is to collapse. He's arrested by 'The Brazilian' police, then imprisoned and tortured in Italy. In 1980, he manages to escape from prison and returns to Brazil in order to flee from 'The Mafia War'. After marrying his third wife, Cristina (Maria Fernanda Candido), a young Brazilian with whom he has two children, Buscetta is again arrested by 'The Brazilian' police. Deeply affected by the executions of those close to him, and in particular by the brutal murder of his two eldest sons, he tries to commit suicide by poisoning himself. But his life is narrowly saved and he's extradited to Italy. Once back in Italy, he makes a decision that would change both his life and 'The Mafia". He meets Judge Falcone and collaborates with the judiciary. The information which Buscetta provides 'The Italian' authorities is the most important ever obtained. For the first time, it's possible to weaken 'The Cosa Nostra'. 475 people are charged and 'The Maxi Trial' takes place in Palermo. Buscetta is the key witness and takes the stand at considerable risk. He makes 'The Cosa Nostra' his enemy and, despite the danger, held firm to his course of action. The criminal organization murdered two of his children, further members of his family and friends. The trial ends with 360 convictions. Buscetta then goes further and denounces the links between 'The Mafia' and Italian politicians. Don Masino’s revelations incriminated powerful men like Giulio Andreotti (Bruno Cariello), a former prime minister. To secure his own peace and anonymity, he moves first to Brazil, then to 'The United States', where he spent the rest of his life under 'The US Witness Protection Program'. Buscetta’s greatest victory, however, lay in his demise: after a life full of murder and the settling of scores, he's able to live his final days in peace, finally dying of cancer in 2000. Maria Cristina De Almeida Guimaraes is Buscetta’s third and final wife, as well as the mother of his youngest children. She's Brazilian and much younger than him. Passionate, strong, clear-headed and always present, she's very different from the regular mafiosi wives who lived in their husband's shadows. Cristina is active, intelligent and autonomous, she's a keystone in Buscetta’s life and played a crucial role in his decision to betray 'The Mafia'. Salvatore Riina, born on November 16th, 1930, in Corleone, also known as 'Totò Riina', is nicknamed 'Totò u Curtu' in 'Sicilian' dialect because of his shortness (158 cm) and 'La Belva' ('The Beast') due to his ferocity. Totò is one of the most influential members of 'The Sicilian Mafia'. In the course of his criminal career, he personally murdered approximately 40 people and is suspected of having ordered the killing of 110 others. During 'The 1980s' and in the early 1990s, Riina and his mafioso family, 'The Corleonesi', led a merciless campaign of violence against both rival mobsters and 'The Italian State'. 'The Mafia’s' terror spread within the population and caused the authorities to introduce strict measures, which led to the arrest and imprisonment of Riina and several of his associates in 1993. Sentenced to life in prison, he dies of cancer in 2017 after word of his possible release on health grounds provoked public outrage. Salvatore Contorno (Luigi London Cascio), known as 'Totuccio Contorno' is a former mafia soldier under the command of Stefano Bontade (Goffredo Bruno). He later becomes a witness in 'The Maxi Trial'. Contorno is initiated into 'The Cosa Nostra' in 1975. He's one of Bontade’s favorite hitmen and is also associated with Tommaso Buscetta. During 'The Mafia War', 'The Corleonesi' want to eliminate Contorno, but he's able to escape and protect his family. He decides to collaborate with 'The Italian' authorities, following Buscetta’s example. 'Pippo Calò' (Fabrizio Ferracane), whose real name is Giuseppe Calò, is born on September 30th, 1931, in Palermo, Sicily. He's a very influential member of 'The Cosa Nostra' and is nicknamed 'The Mafia’s Cashier' because of his involvement in a number of money laundering cases. A very close friend of Tommaso Buscetta, he nevertheless chose to support the latter’s principle rival Totò Riina at the start of 'The 1980s'. After several years on the run, he's arrested on March 30th, 1985, and tries in 'Palermo’s Maxi Trial' for money laundering, associating with 'The Mafia', murder and racketeering. He receives two life sentences. He remains an active member of 'The Cosa Nostra' even in jail, where he lives a life of luxury and less influential inmates are his servants. Pippo Calò’s crimes include the bombing of 'The Naples-Milan' train in 1984, which killed 15 people and injured 116. Giovanni Salvatore Augusto Falcone, born in Palermo May 18th, 1939, and murdered May 23rd, 1992, in Capaci, is an Italian judge committed to fighting 'The Mafia'. His assassination is ordered by Totò Riina, head of 'The Corleonesi' clan. Falcone comes to prominence in 1984 when he takes the testimony of one of 'The Cosa Nostra’s' most important informers, Tommaso Buscetta, known as 'Don Masino'. On the basis of this testimony, Falcone opens 'The Maxi Trial' in Palermo in 1986. Palermo’s criminal court isn’t large enough to accommodate the 475 accused who are to stand trial, so a courtroom known as 'The bunker' is created. Falcone asks for additional resources to pursue the fight against 'The Mafia', but decisions aren't immediately forthcoming. Giovanni Falcone becomes a hero and an icon throughout Italy. He also becomes the number one enemy and main target of 'The Cosa Nostra'. The police escort provision isn’t enough to protect Giovanni Falcone. On May 23rd, 1992, he's murdered by 'The Cosa Nostra' in what's known as 'The Capaci Massacre'. "The Traitor" is more the story of Tommaso Buscetta than of 'The Cosa Nostra". Betrayal is a recurrent theme tirelessly explored in film, precisely because it makes us reflect on change. Can a man truly and profoundly change in the course of his life or is it just a pretense? Is change a way of healing, of repenting? Did Buscetta, who refuses the label of informer all his life, embark on this process of healing, of redemption, to become a new man? Or did he create his own justice? In the past, 'The Cosa Nostra' had nothing to do with the perverse entity that it's today. Buscetta collaborates with 'The State' to prevent others from believing in the dignity and honor of 'Fhe Cosa Nostra'. These values have been buried under a mountain of innocent victims.00208
- Overlord (2018) - Entertaining but not what I expected after seeing the trailer.In Film Reviews·March 13, 2019The German doctor, he believes the tar in the ground has some kind of a power. He calls it his science. But it’s just an excuse to kill us. When I watched the movie “Trench 11” at the end of last year, I already said this might be the cheaper version of “Overlord“. The starting point was identical. In “Trench 11” it’s a group of soldiers who had to search an abandoned bunker of the Germans. There were rumors the Germans conducted experiments there. The Germans tried to fabricate a chemical product so they could create invincible storm troops and thus conquer the rest of the non-German-Friendly world. The biggest difference between “Overlord” and “Trench 11” is the choice of world war. In “Trench 11” they were wallowing in the trenches during World War I. “Overlord” takes place during the 2nd World War. That means a lot of raised hands and loud clacking of heels. But the rest is actually similar. A film that shows the madness of a filthy war and mixes this with non-human creatures with the madness flowing through their veins. It’s D-Day all over again. Operation Overlord was the code name for the invasion by the Allies in German-occupied Western Europe. Obviously, that’s where the film got its title from. And that’s also where this film begins. A swarm of flying fortresses on their way to France to drop a load of paratroopers. It seemed as if I was watching “The Longest Day” back again. Even the ritual with the agreed code words “Flash” and “Thunder” is used in this movie (I missed the clicking though). The opening scene is still impressive and reminds you of legendary WWII films such as “Saving Privat Ryan” (although the first 15 minutes of the latter were obviously more impressive). First, it’s a genuine war-movie The first part is therefore entirely devoted to the mission of a few American paratroopers. The task they need to complete is disabling a radio tower somewhere in a French village. An extremely important assignment, it seems, It sounds far-fetched but the success of the entire invasion depends on it apparently. From the group of soldiers Boyce (Jovan Adepo), Ford (Wyatt Russell, son of) and Tibbet (John Magaro) take center stage. Boyce is the wimp. An inexperienced soldier who’s regarded by the others as useless. Ford is the leading officer who has to make sure the operation succeeds. A gut-eater avant la lettre. And Tibbet is the bigmouth of them all who brags about his sniper qualities. Something that he wants to put into practice in Berlin. He’ll put a bullet through Hitler’s head and thus end this world war rapidly. And then the horror kicks in. Their path crosses that of Chloe (Mathilde Olivier), a French resistance fighter who wants to take revenge on the German occupiers of her village. Understandable, since those Germans systematically use the inhabitants of the village as test animals. Including Chloe’s parents. From here, the film gradually transforms into a horror/zombie film. Not that it’s all so scary or nerve-racking. In my opinion “Overlord” is nothing more than a typical war film in which a commando, with a specific mission, not only battles German troops but also non-human opponents. So be prepared for lots of veined bloodthirsty creatures, blown away or crushed body parts and gallons of blood. Pulp War/Horror Movie. I wasn’t really impressed by this film. For me, it’s just a more expensive, slick version of “Trench 11“. Maybe I was misled by the trailer. The trailer suggested it would be a blood-curdling zombie movie. Ultimately, the film shows the horror of this world war in a proper way. And there are also a bunch of crazy Nazi doctors who try to create an Übermensch. Something similar as when General Ludendorff sniffs some kind of chemical stuff in “Wonder Woman“, after which he suddenly has superhuman powers. In short, “Overlord” is a pulp war/horror movie. It’s great material to create some kind of videogame from. It isn’t very original and certainly disappointing for the seasoned horror fanatic. But this much I can say. It isn’t boring. On the contrary. It’s entertaining enough. And it’s been expertly put together. It’s worth a look for sure. My rating 6/10 Links: IMDB0061
- 'Darkest Hour', Gary Oldman's 'Finest Hour'In Film Reviews·January 30, 2018On Monday 29th January 2018, I saw Darkest Hour at the Vue Cinema with my Mum and sister. The Darkest Hour is about the period of time in May 1940 when Britain needed a new Prime minister to guide our country through World War II. That Prime minister being Winston Churchill. The film shows the audience the struggle Churchill went through to be accepted as a 'victory' Prime minister and how his stubbornness and care for British people managed to get 300,000 men home from Dunkirk safely and through 6 years of war. I don't know if this is because I am English or if I just love our culture and feel good movies, but I absolutely LOVE British films. We have some incredible actors and that makes me feel incredibly proud. Gary Oldman was no exception, he was absolutely incredible as Winston Churchill, from the makeup to the stutter and articulate voice he was simply perfect. After the recent Academy Award nominations for Darkest Hour I expected a showstopper and it exceeded my expectations entirely. British films win in mise-en-scene as the film was perfectly shot with costumes and sets that fit the 1940's era and how London would have looked at the time. Along with how aesthetically pleasing the film is the historical aspects and learning about what Winston Churchill had to do to please the public and parliament and save soldiers in Dunkirk and still with a positive attitude was very inspiring. In the time of complete and utter fear he stayed humorous and confident that we'd win the war with resilience when others were willing to give up. I personally loved the scene when Churchill visited the public in the Underground when he wasn't supposed to, although he may have not done that specifically it was interesting to learn that he would often wonder off and ask the public how they want to respond to the war and that's why he was so well respected and got us through the war. Along with it being very serious with the situation at Dunkirk and Calais (which was interesting to see after watching Dunkirk in the summer) it was also funny and showed that Churchill didn't really care and was his own individual self. The film brought some comedy to it, some of it was quite obviously funny but as the film is a Drama and is supposed to be serious there weren’t too many moments of humour. The other audience members didn’t really laugh but there were some quite funny parts where Churchill wouldn’t take situations all too seriously and parts where he’d just walk around naked. Overall, I really thoroughly enjoyed the film and I’d recommend it to anyone who wants to see a (hopefully, most likely) Academy Award winning performance as Churchill. It’s very light hearted and not too intense to watch. Definitely watch the film if you can while it’s out in the cinema, you’ll get a different experience then watching it at home.0027
- Désiré Chapter I gameIn Film Reviews·April 23, 2020Desire is an intriguing game and the first chapter of this interesting series. The game takes a click and point style mechanism, and you must move through the story with various characters. Play more game on basketball legends. It is an emotional story, and you will find yourself wrapped up in the events that unfold. You have to solve a myriad of puzzles and also interact with different people. This is a fantastic and immersive game and is available on all devices including smartphones. Controls A story-filled point and click game Visual novel style Many puzzles to solve People to interact with Black and white background0013
- The house with a clock in its walls (2018)In Film Reviews·January 2, 2019You can eat cookies till you throw up, for all I care. You’ll see… things are…quite different here. Have you seen “Goosebumps” where Jack Black plays the leading role as well? Well, you can expect almost the same thing. A kids-sized horror film. And I had the same feelings about it after a certain amount of time. Namely that it’s all a little bit over the top. Probably it wasn’t the intention to make it too scary. It should all be about magic and mystery. And it sure was the first half. I admit I have a weak spot for such type of movies. “The House with a clock in its walls” reminded me of the wonderful “Harry Potter” movies. Here too it’s about an orphan boy who ends up in a foster family and apparently has magic powers in his DNA. Lewis (Owen Vaccaro) himself looks like Henry from “The book of Henry“. Also an outsider with aviator glasses on. But halfway the movie derailed a bit and felt rather exaggerated, absurd and grotesque. Shit, there’s that lion again. As I mentioned earlier, the first part is highly entertaining. Lewis is being introduced. He meets uncle Jonathan Barnavelt (Jack Black) and his neighbor Florence Zimmerman (Cate Blanchett). And of course, there’s this huge Victorian-looking house with its ghostly contours. As a spectator, you notice there’s something very unusual going on and certain ordinary things come to life (and in normal circumstances they never do). Something that Lewis only discovers afterward. We then see Lewis attending his new school and how he befriends Tarby (Sunny Suljic), the popular boy who briefly raises Lewis’s popularity. All this is brought with the necessary humor and is highly entertaining for young and old. Even the presence of Jack Black was bearable. I’m not really a big fan of Black’s humor. Usually, it’s bland and ridiculously exaggerated. That is why a similar scene with a lion-shaped-bush with stomach problems is being used three times. Bland, trite and exaggerated toilet humor. Puking pumpkins? Let’s use the umbrella. But in general, it was still enjoyable. What amused me the most was the constant bickering between Uncle Barnavelt and Mrs. Zimmerman. That never really got boring. And then suddenly those puking pumpkins (and boy this was bad looking CGI) and a bunch of puppets shows up. Also, you’ll witness the resurrection of the evil Warlock Isaac (Kyle MacLachlan) and his illustrious wife Selena (Renée Elise Goldsberry). And finally, everything revolves around a very well hidden clock somewhere in the house of uncle Barnavelt. Although he’s a talented wizard and Mrs. Zimmerman a famous sorceress, finding this clock seems an impossible task. Even uncle Barnavelt is forced to use other tools to look for it. Like a huge pickaxe, for example, with which he starts to demolish walls in the middle of the night. And the way they handled this clock-problem, in the end, was also an easy solution. Apparently, the scriptwriters were exhausted and a little uninspired. Most positive was Cate Blanchett. No, I wasn’t really impressed. Visually it looked sophisticated and extremely well-taken care of, but it never was as magical as “Harry Potter“. Cate Blanchett was perhaps the only highlight in this fantasy film for kids. It was as if she tried to be the new Mary Poppins with her behavior. Maybe this movie is perfect to stimulate the fantasy of 8-year-olds. Though they must endure the hyperactive behavior of Jack Black. Is it because of the awkward way in which horror director Eli Roth tackled this project? Or is it due to Jack Black’s lackluster humor? Or was it the laser beam-shooting umbrella of Cate Blanchett used? No more fantasy-movies for kids. Anyway, my interest disappeared and made way for annoyance and lots of headshaking. The only thing I was hoping for was that the damn clock that posed a threat to our universe was found as quickly as possible. And that the other books written by John Bellairs aren’t used for a motion picture as well. After “A wrinkle in time” and this movie, I’m going to avoid fantasy films for children. Enough is enough. My rating 4/10 Links: IMDB More reviews here0037
- The Meg - Thank God my popcorn was for free.In Film Reviews·September 26, 2018Jonas said something attacked them. Something big enough to destroy a new submarine. I’m happy I’ve watched this movie on the big screen. On the silver screen, the Megalodon (hence the title “The Meg“) was even more impressive. But that’s the only thing that can be said about this film. Every film with a shark as the main subject that suddenly transforms into a psychopathic, bloodthirsty hunter, is of course mercilessly compared to the film of all films “Jaws“. A milestone in this genre and unbeatable. Give “The Shallows” and “47 Meters down” a chance and you’ll notice that you watch it rather apathetic without any sense of tension. If you want to stand out in the shark genre, you can throw in some tornadoes so sharks move around in a strange way. By air that is. In case of “The Meg“, they brought in a prehistoric shark who managed to swim through a sort of natural barrier in the ocean. If you want to exceed “Jaws“, you make it all even bigger and more impressive. But apart from the gigantic dimensions of “The Meg“, this film was nowhere truly gigantic. No fun, Statham no fun. I was looking forward to seeing “The Meg“, even though I knew it would be a fiercely exaggerated and brainless spectacle. The fact that Jason Statham plays in it was good enough for me to give it a try. You never get bored with Statham. And it’s always fun to see him kick someone’s ass. I was curious to see how he would handle this giant shark. That was the first thing I was disappointed with. It looked as if they had made a serious Statham out of him. No dry humor and witty one-liners. All the familiar humor gone. And probably they also threatened to wash his mouth out with soap every time he would start to swear and say the “F” word. Statham the deep-sea diver who’s pining away somewhere in an Asian bar because he’s feeling guilty about abandoning his former crew on the bottom of the ocean. And afterward, there’s also something romantic between him and the Chinese oceanographer Suyin (Bingbing Li). And he also takes care of the lovely daughter Meiying (Sophia Cai). Can it be cornier? This shark ignores all the tasty snacks. Yes, it can be even cornier when the giant shark also starts to behave civilized. Admit it. Don’t you think such a mega-shark is constantly hungry? So when he ends up near an overcrowded beach with an immense amount of young people splashing in the salty water, wouldn’t you expect a bloodbath with an unprecedented number of torn teenage bodies? It’s not that I look forward to such a scene, but you expect that a little bit anyway. Again this was a disappointing feature. I even began to doubt the proper functioning of the natural radar system of this giant shark. And furthermore, there was only one moment I almost jumped out of my skin when an innocent young whale bumped into a window. That says a lot about the eeriness of this movie. Show no mercy, sharky. Isn’t that what you want to see while watching a movie like this? The increasing tension and the redeeming end in which the endangered characters kill that vicious animal. You sigh with relief as you see the dismembered carcass of the shark sink to the bottom of the ocean. And you feel sorry for the attacked victims. In this film, it’s the other way around. I almost cheered the moment the most annoying character in the film saw the giant, razor-sharp teeth of the shark in close-up. In fact, I hoped that “The Meg” could somehow return to its natural habitat, after which mankind would finally realize not to break the rules of Mother Nature every time. And that final fight was like the battle between Achab and Moby-Dick. The popcorn was for free. All in all, this wasn’t really worth a visit to the cinema. I’m already glad they made a mistake at the candy stand and gave back too much cash, so the candy me and my wife bought was almost for free. The popcorn tasted twice as good during this popcorn film. And mind you, not because of the movie. It had nothing to do with that. In retrospect, “The meg” was a mega disappointment. My rating 4/10 Links: IMDB More reviews here0020
- "Decision To Leave" written by Gregory MannIn Film Reviews·October 18, 2022(Decision to Leave • 2022 ‧ Mystery/Romance ‧ 2h 18m • Showtimes • London Tue 18 Oct ▪ Wed 19 Oct • Thu 20 Oct • Fri 21 Oct • Sat 22 Oct • Sun 23 Oct • Mon 24 Oct Institute of Contemporary Arts, 260 m·The Mall, Institute of Contemporary Arts, LONDON SW1Y 5AH, United Kingdom, 20:45 ODEON Luxe Haymarket, 400 m·11/18 Panton Street, LONDON SW1Y 4DP, United Kingdom, 17:00 • 20:15 Picturehouse Central, 600 m·Piccadilly Circus, 13 Coventry Street, LONDON W1D 7DH, United Kingdom, 16:00 • 19:00 Curzon Soho, 650 m·99 Shaftesbury Avenue, LONDON W1D 5DY, United Kingdom, 14:40 • 18:10 • 20:40 BFI Southbank, 900 m·South Bank, Belvedere Road, LONDON SE1 8XT, United Kingdom, 14:20 • 17:50 • 20:20 Curzon Bloomsbury, 2,0 km·The Brunswick, LONDON WC1N 1AW, United Kingdom, 15:00 • 18:20 • 20:20) "Decision To Leave" From a mountain peak in South Korea, Soo-wan (Go Kyung-Pyo), a businessman, plummets to his death. Did he jump, or was he pushed? When detective Hae-joon (Park Hae-il) arrives on the scene, he begins to suspect the dead man’s wife Seo-rae (Tang Wei) may know more than she initially lets on. But as he digs deeper into the investigation, Hae-joon finds himself trapped in a web of deception and desire, proving that the darkest mysteries lurk inside the human heart. Set against a contrasting backdrop of mountains and seas, "Decision To Leave" captures the tension of a police investigation while simultaneously being focused on the changing psychology of a man and a woman. The film begins with the detective Hae-joon investigating the death of a man who fell from a mountaintop. The character is similar to the police character Martin Beck from the Swedish detective novel series. When he meets the deceased man’s wife Seo-rae, he starts to suspect her at the same time that he begins feeling an attraction to her. The wife of the man who dies on the mountain, although she's Chinese, her maternal grandfather was a Korean independence fighter, and she's proud of her family’s history and her grandfather. When her husband who loved climbing dies on the mountain, leaving her alone, she comes across the polite and clean detective Hae-joon who's in charge of her husband’s case. During the course of the investigation, she feels she's being considered a suspect. Even so, she maintains her usual upright posture and speaks boldly to Hae-joon in her Korean that's awkward, but which expresses her intentions clearly. Amidst the rising tension of the crime investigation, the film delicately captures the emotions of two characters who feel a special curiosity and unexpected affinity for each other, providing an intriguing mix of suspense and romance. In particular, the unreadable words and actions by Seo-rae make her tantalizingly hard to read, not only for Hae-joon but for the viewer as well, raising dramatic tension. As the location of the story shifts from the mountain to the sea, as their developing relationship is torn between suspicion and attraction, and as the investigation slowly reveals more details about the past, the complex, subtle emotions that tie these two characters together will leave an unforgettable impression on viewers. The film follows the emotional trajectory of two characters: the wife of the deceased man, and the detective who becomes fascinated by her. Seo-rae, who lost her husband in a sudden accident, does not show any signs of grief or agitation. The police start to investigate her as a suspect, but she never loses her upright and imposing attitude, making the audience curious whether she might really be the culprit. She does not hesitate in her exchanges with Hae-joon, even though he suspects her. And despite her limited Korean skills, her unexpected expressions and answers stymie those who question her. Seo-rae can knock her opponent off guard without ever losing her composure, making it impossible to ever know what's truth, what she's truly feeling, and who she really is. Meanwhile Hae-joon, from the moment he first sets eyes on Seo-rae, feels a subtle interest stirring in him even as his instincts as a detective tell him to suspect her. Having been recognized for his abilities and named team leader at the violent crimes division, Hae-joon stands out from other detective characters in the police procedural genre with his neatly dressed look, clean personality, and polite manner of interacting with others. A person who has never felt disturbance in the slightest, he begins to change in unexpected ways after meeting Seo-rae. Having often suffered from insomnia, he's finally able to sleep deeply. "Decision To Leave" focuses on facial expressions and eyelines to better capture the true face of the two character's emotions. With bold zooming in and zooming out to visualize the character's imagination, and unusual perspective shots that capture the sense of watching the relationship develop between the characters. In particular, such as the houses belonging to Seo-rae and Hae-joon, or the police station and interrogation rooms with their differentiated structure. Things will will not work out between them. But when they express their intention in this resolute way, from an outside perspective it doesn’t feel very convincing. They may want and agree to separate, but given that deep inside their hearts they don’t really want to part, it’s a title that suggests they won’t be able to leave each other. To Seo-rae, who has always thought of herself as being unhappy, Hae-joon is like a precious gift. She must have been taken with surprise to think, For Hae-joon, Seo-rae is like the waves on the sea. Sometimes she's calm, sometimes violent, sometimes overwhelming. Sometimes she wraps you in her embrace, but it’s always changeable. She’s a very attractive character. The always proud and faithful detective Hae-joon is so capable that he becomes the youngest officer ever to rise to the position of Inspector. He always dresses neatly, cares about cleanliness, and has a polite, kind personality, but above all, he's a person who sincerely devotes himself to catching criminals. He records all details at the scene of a crime on his smartwatch, and routinely performs late-night duty because of his insomnia. He depicts a character who departs significantly from the familiar conventions of the police procedural genre. It’s to this person that Seo-rae approaches so boldly with strong curiosity. The subtle and tense feelings that emerge between these two people, which having begun as the relationship between a detective and a suspect cannot easily reveal it's true nature, will leave an unforgettable impression on the audience. With nods toward classic Hollywood and Hitchcok’s "Vertigo", the film infuses with ingenuity and a knife-edge precision that truly cannot be matched. A blend of investigative drama, "Decision To Leave" eschews the shocking breaking of taboos in which subtle emotional tremors coexist with pulsating inner waves. "Decision To Leave" is a seductive romantic thriller that takes a renowned stylistic flair to dizzying new heights. There's not much violence, nudity or sexual content. The film’s message is expressed in a subtle way. Like the sand is soaked by the waves. Because from a genre perspective it’s a romance. There are many shots in the film that are technically unconventional and physically impossible. With it's genre mix of police procedural and it's intriguing characters, the sensual mise-en-scène, "Decision To Leave" is at once the most classic and most original film of 2022. Written by Gregory Mann (Won best director at Cannes 2022)0023
- A prayer before dawn (2017)In Film Reviews·August 23, 2018I don’t know what you’re fucking saying, I don’t understand. What an impressive film. You won’t get a feeling of excitement or relaxation after watching it. It’ll rather leave a bad taste in your mouth. It was as if the smell of blood, rancid food, vomit, and sweat has nestled itself in my nostrils. I had this annoying, uncomfortable feeling afterward. I’m convinced there are other places in this world where you don’t want to end up and which aren’t good for your health, both physically and psychologically. But the Thai prison Klong Prem seems to me the most damned and inhumane place on our planet. A place where you stop being a person and where you try to survive in any way you can. I’m strongly in favor of setting up an exchange program for prisoners worldwide. In such a way that prisoners from wherever, get the chance to taste the prison climate of these regions. I’m sure many will start realizing how privileged their treatment is in this part of the world. Who knows, maybe even a few will come to their senses. Is there a translator in the house? “A prayer before dawn” feels like a documentary. It’s as if the camera is filming over the shoulders of Billy Moore (Joe Cole) all the time, a Brit who’s a boxer in Thailand and is being arrested for selling drugs. The nightmare in which he’s imprisoned for three years and the daily struggle in this hell hole is the basis for his book that he publishes later on. It’s titled “A prayer before dawn: A nightmare in Thailand“. Don’t expect long dialogues. Or you are someone who understands Thai quite well. That alone would drive me crazy already. The endless whining and shouting of those tattooed, golden-toothed Thai criminals. You have no idea what they are talking about. You can only guess whether they ask a very ordinary question or threat you. Brutal, intense and realistic. The number of films that take place in prisons is almost infinite. But there are none so realistic and painful to behold as “A prayer before dawn“. Even “Brawl in Cell Block 99” doesn’t seem to be so brutal and intense, despite the extremely violent images. Why? Because “Brawl in Cell Block 99” is a fictional story. The story about Billy Moore shows an unambiguous, unvarnished picture of his struggle for survival and his perseverance to maintain himself in this barbaric environment. A story about how an individual has to push his limits both physically and psychically. A black and white portrait with a thin dividing line between life and death. One moment you see how Billy almost kills a fellow prisoner at the request of a corrupt guard. The next moment you see a tender moment between him and the transvestite Fame (Pornchanok Mabklang). A moment to catch your breath after all the brutal violence. Top notch acting. Even from those ex-prisoners. The acting of Joe Cole is extremely convincing. You can simply feel his fury, despair, and fear. Cole’s acting is purely en simply physical as there is practically no dialogue to be heard. A shrill and threatening “Fuck off” is the main thing that comes over his lips. You are witnessing how the accumulated tension and frustration suddenly flares up during confrontations and his Thai boxing. And at the same time, you see Cole fighting against his addiction. The Thai inmates are all amateurs in the field of acting but apparently, a large number of these side characters actually have spent time behind bars. Maybe that’s why it all feels so real. Just go watch this top-notch movie. No, “A prayer before dawn” is no fun to watch and will certainly still haunt you the next days after. If you expect a detailed story, you will certainly be disappointed afterward. The narrative is reasonably straightforward and concise. It’s nothing more than a report of Billy’s stay in this hellish place on earth and his constant fight to get out of it unscathed. But, as I said, this film will certainly stay with you. It’s, as it were, beaten into you. My rating 7/100055
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