the nastiest holocaust kitsch out there - abject, sweet-sugared, spineless. a classic exploitation tale fishing for cheap emotions while twisting realities to deny the real horrors in order to not snub the precious audience. in this being an industrial product, it's a sheer insult for all victims of the holocaust and a shameful irreverence of anyone involved, aswell as the spectators appreciating this.
Fellinis vibrant, vivid and exuberant tale about the chaos in a mans mind, and much more a film about a mans failing omnipotence concerning the female objects than a film about filmmaking.
it balances on one foot between self-aggrandizing navel-gazing and an intellectual journey into depression, always being narcissistic and self-degrading at the same time. Fellinis alter ego is a permanently passive resigner, everything happens to him, especially the 178 women dancing through the frames. the oddly positive ending makes…
filthy little scumbag, you!
it's impossible to watch Bitter Moon without the knowledge of Polanskis rascalities, and see it as an own little psychoanalytic journey into his mind of male fantasies, fetishes, desires - very similar to Fellinis sprawling epics. women are only objects here - femme fatales, but the fatality they arouse is already implanted in the man's mind, as the inceptor of his drives.
this is fascinating to watch, although I don't see how anyone can takes this…
a true german wunderkind. a movie within the (federal grant) system, that crashes the system - not contextually or formally, but with its courage and skillset, something apparently ultra rare to find in our beloved top industry nation.
uses its immersive cinematic universe best to its abilities, loves each and every character, touches so many important social topics (without being - and that couldn't be said more emphasized - educational or driven by a simple moral outline). the authenticity bewares…
Pixar following their recent approach of Coco and Inside Out to tell a deeply existential tale about heavy topics such as the acceptance of death or the lack of motor to go through this mess called life, while popping cherry lollipops in style and entertaining a joie de vivre on the surface, and slowly bringing both together.
it's a zest for life while not being in denial about all of its flaws. a serious endeavor which is nonetheless brimming over…
looking at poster, title and a good fit of independent filmmaking and music movement, this is surprisingly not about a look into the subversive metal scene, but about the individual fight of our protagonist against change and the acceptance of his fate.
Riz Ahmeds intense, nervous, chased play is key. the wish for a just found status quo of safety is palpable and arouses a deep connection with him. instead of accepting his new family, he desperately wants to reestablish…