It’s so lovely to fly. “Merry-Go-Round” (“Körhinta”, 1956)

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directed by Zoltán Fábri
© 1956 Metro-Goldwyn-Mayer. All Rights Reserved.

How do you feel about going back to the 50s and hearing some Hungarian language? I mean, why not? After the films I’d seen recently, I was in need of watching an actual love story that doesn’t make me drink those extra glasses of wine while staring at a wall. So, we finally get a cute couple, Mari and Máté (Mari Törőcsik & Imre Soós). Those two are young and visibly in love with each other. If you want some adorable pictures like staring into each other’s eyes and dancing in each other’s arms – that’s the kind of relation you’ll see here. However, to make things difficult, the lovebirds cannot really be together because Mari’s father has other plans for her. He wishes his daughter to marry Sándor (Ádám Szirtes), an older man who’s definitely not Mari’s type, but the thing is… he’s the owner of the land that István (Béla Barsi), Mari’s father, wants to get his hands on. Since Mari’s family are simple farmers, they don’t bother to think about such trivial things like love – they need land, they do everything to get land. Period. But Máté doesn’t give up and does everything to win Mari’s heart. Or I should rather say convince István to let them be together, because you can tell her heart has already chosen. Simple story, simple idea, the kind of scenario that you’ve seen numerous times. So why should you see it? First, you can take a break from the modern cinema that is much different, so perhaps getting back to the 50s will give you a fresh experience, paradoxically. Second, even though it was made about 70 years ago, I was fascinated by the camerawork, because it’s not only pleasant, but also quite innovative (especially pay attention to the scenes with the carousel). Third, despite a very common type of story, I didn’t feel bored or tired – quite the opposite, that simplicity was very enjoyable. I guess it’s because of the form that the filmmakers chose and the chemistry between the actors, not only the lovebirds. I had a good time watching this film and it’s the kind of love story that makes you admire our ancestors. I mean, Mari’s story isn’t anyhow original – a lot of people were getting married for the sake of economical reasons back then. Of course, you may say that people marry for money nowadays as well, but I feel like today we have something they didn’t have before – we have a choice. It’s up to us what we prioritise. So you know, next time you feel bad about that person who left you on “seen” and their effort ends with a like of your photo on social media, remember Máté telling Mari that “he could only die without her”. Standards, darlings, standards. It’s spring so I wish you fewer disappointments and more amusement park’s dates.

My rating: 7/10
S.

As long as you want me. “First Love” (“Primo Amore”, 2004)

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directed by Matteo Garrone
© 2004 Fandango. All Rights Reserved.

Recently, I felt like watching a horror, but nothing popular or new, and that’s how I found “First Love” (Huh! That sounds like a creepy love story beginning). Before you get too excited, let me just say it’s a totally unique kind of horror, so no paranormal activities, made-up monsters or weirdos running around with a chainsaw. If you’re ready to watch something that may give you chills and make you severely regret your relationship choices, then press play. The film starts with two people, Sonia and Vittorio (Michela Cescon & Vitaliano Trevisan), who meet up for their first date. The man isn’t thrilled to see Sonia because, despite her being a rather fit person, he finds her too fat. And what’s more – he doesn’t mind sharing his opinion, which as you may guess is not the most polite way to start a date. Even though Sonia is having second thoughts about the meeting with Vittorio, or as we would say it in Gen-Z languague “she’s noticed his red flags”, the couple decide to keep dating and getting to know each other. Soon we learn that Vittorio is in therapy due to his obsession over female bodies – he’s incredibly attracted to women struggling with anorexia. So he tolerates Sonia’s appearance, yet he’s constantly manipulating her to keep losing weight. And since he doesn’t do it drastically and at once, the woman is slowly becoming his puppet that he’s leading towards the darkest point possible. So… I wanted a to watch some silly horror from the 80s or 90s and I ended up with an existential crisis after watching an Italian film about invisible abuse. I say it’s invisible because Vittorio manipulates Sonia in such smart way that she’s not even aware of the harm. Or perhaps she realises this relation is not the healthiest, but she doesn’t put her own comfort as a priority just to make the man happy and keep the relationship alive. Even though it’s a film and it focuses on a man obsessed with emaciated bodies, I cannot stop my brain from thinking about toxic relations in general. Vittorio is constantly checking Sonia’s weight and accuses her of snacking when the number doesn’t go down, but we can observe similar scenarios around us: checking the partner’s phone, controlling their purchases, shaming for meeting with other people, comparing to others (obviously “better” ones), and even physically abusing or threatening the partner. And still, there are such couples and they last. You know, there’s this one scene in the film that I’d like you to pay attention to, because it’s a perfect summary of what this story is about: Vittorio and Sonia go boating and the man is talking to his partner, but she doesn’t reply and when the camera shows her face, it’s blurred so you cannot see any expression. And that’s what toxic relations make out of us – they blur us. And that’s a real horror.

My rating: 6/10
S.

I’d rather be hated for who I am, than loved for who I am not. “Kurt Cobain: Montage of Heck” (2015)

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directed by Brett Morgen
© 2015 Universal Pictures. All Rights Reserved.

30 years ago, on April 5th 1994, we failed as humanity. Well, to be precise, we fail quite often, but that day we lost one of us and I do believe it was our mistake that should have been a big lesson. Yet we keep making the same mistake, so perhaps you’ll share my conclusions after seeing this documentary. I’ll explain my truly Schopenhauer’s mood in a moment, but first, let’s focus on the film itself. For the younger generations or people who prefer slightly lighter kinds of music, Kurt Cobain was the vocalist and guitarist of Nirvana, a very popular grunge rock band. They were especially appreciated for being total rebels and artists refusing to go with the flow. Their songs were not only on top because of the music, but mostly because of the lyrics that were somehow allowing millions of people to associate with them. It’s not surprising because Kurt was writing those songs basing on his own experiences, feelings and personal troubles. From the early years, he’d been a lost soul, seeing the world differently than his peers and constantly in need of more affection in life, especially after his parents’ divorce. He was looking for a way to escape this mind battle of his in many ways, finally ending up with addiction to drugs. So his life was mostly focusing on expressing himself through music and running away from the reality that was too difficult to handle. Despite his arduous mental battle, he managed to get married and have a child, Frances. Those big life steps and their fame as Nirvana were pulling Kurt down and, unfortunately, he finally hit the bottom. No matter if you’re a fan of Nirvana or what I’m writing is new to you, still you should see this documentary. I believe it’s not about a music icon, but about a lost soul that was too emotional for this ruthless world. Indeed, Kurt chose the worst way possible, meaning drugs, and very few manage to return from this hell, but we have to remember he didn’t choose it just for the sake of wasting his life. He was so helpless and desperate that drugs were the only thing making him function, even on the lowest level. What I wrote at the beginning of this post was perhaps to general, but I do think Kurt needed more understanding and support, just like anyone struggling with anything in life. One may struggle to find a job, another to find a will to wake up in the morning. Why do we help one and leave the other to shoot himself out of the blue? Addiction to anything is never a pleasant picture, but, in the end, we’re all together on this planet and maybe, just maybe, we could try harder to stay united. People give up too easily on literally everything and never learn, because we keep losing our idols, family members, friends, neighbours. And you know to what? To loneliness. Because that’s the biggest killer of them all. This documentary is horribly difficult to me, even though I became a fan of Nirvana and learned about Kurt years after his death, but he’s still an icon to me. In the world full of people pretending to be someone they’re not, he wasn’t afraid to show his even ugliest sides, which made so many fans sympathise with him. To me, such authenticity is what I appreciate most in another person, so thank you Kurt for being you. I’m sorry the world wasn’t welcoming.

My rating: 8/10
S.

Mother Nature takes no prisoners. “Lamb” (“Dýrið”, 2021)

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directed by Valdimar Jóhannsson
© 2021 Sena. All Rights Reserved.

It took me some time to see this film as I hadn’t been in the right mood, if you know what I mean. Icelandic drama about a couple living in the middle of nowhere – that’s the kind of film you watch only when in a certain mood. But the day came and as you can see, I’m recommending the film to you. But let me just say that I wouldn’t be surprised if you disliked it, because for a long time I wasn’t buying the story either. However, the ending made it clear to me that behind the surreal and strange form, there’s a horribly important message is waving at us. At first we meet María and Ingvar (Noomi Rapace & Hilmir Snær Guðnason), a couple living a rather simple life on their farm. Their routine is destroyed at some point when one of their sheep gives birth to a strange creature. It looks like a hybrid of a human and a sheep. Fascinated by the lamb-baby, the couple decide to take it home and raise it as their own child. I know, you may already be frowning wondering what the hell is happening here. I get it, trust me. We also find out that María and Ingvar have lost a daughter, Ada, so this sheep/human creature is like a missing puzzle they’ve been looking for. The family is enjoying their life together, not bothered by their visible differences, until one day they are visited by Ingvar’s brother Pétur (Björn Hlynur Haraldsson), who finds it difficult to accept this situation. To be honest, for the first half of the film I was hoping for it to finish sooner as such surrealism is not my thing at all. I was pretty sure the drama is turning into some intense fantasy, and again, that’s not my thing. But when I finished the film, I realised that even if the form may be discouraging to some people, I see the point of the story. And what I say next is my personal interpretation, which you can consider as a *SPOILER*, so just so you know. To me this is a reminder how spoilt we are as humans in this world. We only care about our own pain and put our own comfort as a priority, even if it means hurting other creatures. However, no matter how superior we may feel to everything around us, Mother Nature is there to give us a lesson. Here I could expand this thought to destroying our planet, polluting literally everything from air to water, deforestation, eating animal products, using animals’ for testing etc., but it would take me days to mention all the fields where we’ve been overusing power. And we can all see that now, all those actions are playing against us. Back to “Lamb”, I’m still not sure about such surreal forms in drama films, but I appreciate trying something unique to spread the message. I’m also a big fan of Noomi Rapace’s acting, which can never let me down. Plus, as strange as it is, I do find the lamb-kiddo adorable, so yeah… Sorry not sorry.

My rating: 6/10
S.

You cannot see the future without seeing the past. “Dune: Part Two” (2024)

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directed by Denis Villeneuve
© 2024 Warner Bros. Pictures. All Rights Reserved.

We’ve waited for this part almost as long as Fremen waited for their Lisan al Gaib. Inside joke for nerds have been shared, I can peacefully begin my post. In case you don’t remember my text about the first part, I shared there that I hadn’t read the book so I went to see the first film without any clue what I was about to experience. Right after leaving the cinema, I grabbed my phone and ordered the first book, because I honestly had fun and wanted to know whether the book’s equally engaging. Back then I promised myself I’d read the first book before seeing the second film. And now… do you think I’ve succeeded? I hope you believe in my at least a little because yes, I finished those 700 something pages and the following day I was sitting in a comfy red cinema chair excited to see this never-ending desert with worms on a big screen. But getting back to the plot – as you might be guessing, this is the continuation of what we could see in the first part. I definitely recommend you to see them both in the correct order, because you may not understand certain relations in the second part without knowing the book or the first film. Whatever I write next might be considered a SPOILER (the charm of sequels), so just feel informed. House of Atreides have been destroyed and Lady Jessica (Rebecca Ferguson) is hiding in the desert with Paul Atreides (Timothée Chalamet), her son. They are living with Fremen, probably only people who know desert and its specifics, and who were expecting someone from “Outer World” to come and save them. Some Fremen believe that Paul is their long awaited prophet, but some others want to banish both strangers. Luckily, the leader of the group, Stilgar (Javier Bardem), is supporting Paul and offers him different kinds of trials, which may clarify whether Paul is their actual messiah or not. In the meantime, Baron Vladimir of House Harkonnen (Stellan Skarsgård) is continuously destroying everything he wants and in this part we get to know his heir (also called “na-Baron” – don’t you just love those names?), Feyd-Rautha (Austin Butler), who’s equally creepy as his uncle. We generally get introduced to many more figures in this part, but it’s best if you see them yourselves in the film. Is it worth seeing this film in the cinema? Yes, absolutely, and if they make another part – I’ll also want to see it on a big screen. Such productions are meant to be seen in cinemas, because there are those elements which may not amaze you that much if you see them on a small screen, such as the desert. You may think “meh, just a lot of sand”, but if you see it on a big screen and be exposed to the soundtrack (by marvellous Hans Zimmer), you may then feel how overwhelming it is. I’m still amazed by the actors and my heart is stolen by Rebecca Ferguson – all chapeaux bas to this talented woman. Also, some people complain about Chani and how annoying she is in this part and that she’s acting like a spoilt child. Personally, I disagree with this opinion and I see Chani as a much more logical character than she is in the book (yes, I’m complaining about the book, sorry to all the fans). In the film, she’s concerned about her people, Fremen, and she wants to be extra cautious, even though she has feelings for Paul – that’s very mature if you ask me. Then, she’s pissed off when she sees Paul making strange decisions – here, I also have an explanation. At some point, when it was almost clear that Paul is the awaited prophet, the relation between those two got weaker and Chani felt like she’s losing him as a trustworthy partner. So she focused on herself and her tribe. And I believe Zendaya performed it just as it was supposed to be, so no hate, just love, my dear! Before I finish, you probably expect me to say what I liked more – the book or the film? Well, definitely the film. It was a nice experience to read the book, but I’m not going to read next parts. This story is very complex and it’s tiring for me to follow all the weird names and relations between characters. The film is much clearer and thanks to it I understood the book better, so I’m team Denis Villeneuve and big screen. And I can’t wait to see next parts, so let’s cross fingers nothing else disturbs the crew. And Javier Bardem screaming “Lisan al Gaib” is this year’s icon for sure.

My rating: 7/10
S.

To awaken humanity. “Aurora’s Sunrise” (2022)

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directed by Inna Sahakyan
© 2022 Bars Media. All Rights Reserved.

In 1919, “Auction of Souls” film was released. It’s a silent production focusing on the Armenian genocide of 1915 from the perspective of an Armenian woman. Then, the film disappears and nobody has a chance to see it until 1994, when only fragments are found. The content of this story is nothing pleasant to see, yet it’s important to learn and that is why I’m recommending you “Aurora’s Sunrise” today. It’s an animation, but definitely not for children, so if you’re a parent – better watch it alone. Aurora Mardiganian, or Arshaluys Mardiganian (her Armenian name which she changed for non-Armenians speakers to make it easier for them), was a survivor of the already mentioned genocide and she played herself in “Auction of Souls”. The animation is based on her life story, where most elements are animated, but there are also fragments of interviews with Aurora and several scenes from “Auction of Souls”. I wouldn’t like to write too much about the woman’s life because it’s what you’ll learn best from this production and herself speaking. However, I’d like to focus on the technicalities and the messages coming out of this film. First, I’m positively surprised about the animation style because it was a paper cutout technique (a form of stop motion animation using flat objects often cut from paper or photographs and such), which normally gets me tired, and here I was enchanted. The filmmakers decided to make it an animation because it gave them more freedom of expression, which I definitely support. Since they were already using the recordings of Aurora and fragments of “Auction of Souls”, putting all of that into a live-action film would be a huge mess and mistake. The animation let us see all those pictures in a somehow limited way, which forces us to use our imagination, and I believe it’s a big plus. Second, this production reminds us about something that took place, something incredibly real, which was swept under the rug. Was it because they wanted to forget about it? Or hide it from us? Or they didn’t believe in the fault of the offenders? No matter what the motivation for hiding “Auction of Souls” was, we should spread this story and encourage people to see it. I personally support the opinion shared at the end saying that if only we’d put enough spotlight on one genocide, perhaps there wouldn’t have been others. You see, I don’t believe in a perfect world, because I’m too much of a realist, but it is true that we kind of treat wars and crimes as a part of our reality. Yes, there’s a war somewhere. Life goes on. And I’m not judging that because even though I’m following the news about some conflicts happening in the world, I can’t do much about that as an individual. So I sort of understand this “blindness” to tragedies – it comes from helplessness. However, I do believe we have country and world authorities to make difficult decisions and that’s the way to make sure offenders get punished and the consequences are significant. Because if one crime is swept under the rug, I’m pretty sure next one will be as well. That is why this film is worth seeing – to remind you that perhaps all those world crimes are happening right now because we, as humanity, ignored one a long time ago. So it’s surely time to awaken.

My rating: 7/10
S.

I don’t know how to be myself. “Dark Water” (2005)

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directed by Walter Salles
© 2005 Buena Vista Pictures. All Rights Reserved.

Are you the kind of person who has a list of to-watch films and regularly checks it out to see whatever you’ve planned to see or you’re like me – scrolling on social media, learning about some haunted hotel, binge-watching a documentary series about it till 1 am and then finding out there’s a film that has similar significant elements in common with that tragedy from the series? Either way, now you know why you’re reading this post, because everything I wrote is true. In the film we meet Dahlia (Jennifer Connelly) who’s a single mother of Cecilia (Ariel Gade), an adorable 5-year-old kiddo. The woman has just divorced her husband but they are still arguing about the custody of Ceci. In order to keep her daughter, Dahlia has to prove she can take care of her, including finding a decent flat close to a school etc. They decide to move into a flat on Roosevelt Island in a not very fancy block, yet it’s affordable. Except the fact that their new home is horribly neglected, some strange things start to happen and it doesn’t scare Dahlia that much until she learns about her daughter’s new imaginary friend. It’s because Ceci seems to believe in the friend way too much. As you can be guessing, it’s a supernatural horror, so if you’re easily scared, better watch it during the day covered in a blanket. But since I started the post telling you the whole journey which led me to this film, let me explain because that may be the reason why you see it. So, I saw a reel about Cecil Hotel in Los Angeles. That short video said it’s a hotel with some dark history, so I obviously wanted to know more – I’m a curious creature. I found out there’s a series on Netflix called “Crime Scene: The Vanishing at the Cecil Hotel”. It has 4 episodes and you may learn what a strange place that is. I mean… imagine all possible pathological and criminal things and put them in one building – that’s pretty much the story of Cecil Hotel. Yet, this series focuses on one tragedy of a girl who went missing. Please, don’t Google anything because watching this series is really engaging as you slowly discover what happened, yet in episode 4 you may feel even more confused than in episode 1. Anyway, in that series they mention “Dark Water” because some elements of the real story were literally copy-pasted into the film. Some people even say that “Dark Water” is literally a fictional version of the story of that missing girl. But is it really? The creepy part is coming – this film was released in 2005 and the real tragedy happened in 2013. If you think that someone got inspired by the film and proceeded to committing the crime, let me tell you – I doubt it. In the end, those are two very different stories, yet some elements are basically the same. Did someone predict the story of Elisa Lam? We may never find out… However, I’d recommend you to see the series and the film (in that order!) and make up your own mind. I cannot spoil anything, but in my opinion, even if the film is not presenting the actual tragedy, I still enjoyed it as a horror. It’s very intimate and plays with your mind, so I give a thumb up. Although, after both productions, I will definitely change my habits while staying at hotels… You’ll see why… Anyway, if you’re a budget traveller, take a deep breath and have fun with those stories.

My rating: 6/10
S.

P.S. This film is a remake of “Honogurai miss no soko kara” (2002, by Hideo Nakata). I haven’t seen the Japanese one and my decision was conscious to see the remake first – I wanted to compare the story of Elisa to the American film.

That’s not the point. “Anatomy of a Fall” (“Anatomie d’une chute”, 2023)

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directed by Justine Triet
© 2023 Le Pacte. All Rights Reserved.

Oscars 2024 in few words: predictable event with a clapping doggo, naked guy, twins reunited and Ryan Gosling impersonating Marilyn Monroe. I had my choices and agreed with the Academy only in 6 categories, but I predicted most winners, so to me it was like “oh yeah, obviously” for the whole night. You won’t find my post about this year’s main winner – “Oppenheimer” because, surprise, surprise, I did not like it that much. Christopher Nolan is one of the greatest directors of our times, but this was far from astonishing me, so I’m sorry. As you can be guessing, I disagree with this choice, so in order to pay some respect to my personal winner, today I’m giving you a post about “Anatomy of a Fall”. I needed a lot of time to analyse the nominees and decide who’s my favourite, but I’m pretty sure this film should have won the main Oscar. But let’s start from the beginning since you might have no idea what it’s about. We get to know Sandra Voyter (Sandra Hüller), a German novelist living in French mountains together with her husband Samuel (Samuel Theis) and son Daniel (Milo Machado-Graner). Everything begins in their house where Sandra is being interviewed by some student. Unfortunately, the ladies cannot really focus on the conversation since Samuel is playing very loud music upstairs. Sandra isn’t much bothered by this fact explaining it’s how her husband relaxes. The ladies postpone the interview and at the same time Daniel takes their dog for a walk. When the boy gets back, he finds his father lying dead on the ground. He calls his mother, who comes out unaware of the accident and immediately grabs her phone to call for help. As you might be guessing, the investigation begins and everybody’s trying to understand what happened. Sandra, obviously, claims she didn’t kill her husband, but there are some clues that speak against her statement. If you think this is another boring crime drama, then let me assure you it’s not. This film is a mind game. As a viewer, you know exactly as much as those who need to decide whether Sandra is guilty or not. So at some point you may feel like one of the judges, who can only observe, listen and analyse. I’ve heard a lot of comments that this film is too boring because they basically talk. But that’s the point, my dear, that’s the point. The power of every single word is incredibly crucial here. You have to pay attention to every sentence, every facial expression, body language and even the language. Sandra has to testify in a French court and she’s forced to use French, which is her third language. That’s already a factor that may change the way you see things. At some point we get to listen to an audio recording of the couple (found on a cellphone). Here, the filmmakers also let us experience it as if we were in that court, because we hear some noises, but we don’t get the answer what happened. We do get to hear Sandra’s version, but is it an honest one? See, this film, in my opinion, is for you to realise that we may not always know the right answer to everything. Sometimes, we just have to decide which version works best for us, or which version will make the smallest damage, or which version will be safer. And it’s not only about lawsuits, but all the choices we make in our personal life. There’s a wonderful scene in this film where Sandra is talking to her lawyer Vincent (Swann Arlaud) and she tells him “I did not kill him”, to which Vincent replies “That’s not the point”. And I believe this line is the quintessence of the story. I asked my readers on Instagram whether they think Sandra killed Samuel or not. And the result was 50-50. But that’s not the point. The point is you had an opportunity to make up your own mind and make a decision that works for you. I also have my opinion and chose my version of the story, but I don’t want to share it. I want you to watch this marvellous film and join the game. Chapeau bas to everyone involved in the process of making the film, congratulations for winning an Oscar for the best original screenplay (absolutely deserved), loud applause for Sandra Hüller for a spectacular role, and never-ending snacks and cuddles for Messi – the dog. I am truly amazed.

My rating: 9/10
S.

I choose to be joyful! “Nǎi Nai & Wài Pó” (2023)

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directed by Sean Wang
© 2023 Even Odd. All Rights Reserved.

Ladies! Today is your day and you deserve all the best that’s on this planet (and beyond). So in order to sweeten your holiday, I’d like to recommend you a short documentary that’s nominated to Oscars, which, in my humble opinion, is a beautiful 22-minute-long wish to you all. It’s a story about two lovely elderly women, who share their everyday life with us. They live together as best friends and their house couldn’t be happier. Despite their age, they know how to have fun and they don’t slow down, oh no. They play, they dance, they fart loud and nobody is allowed to change that. They are a human form of “you only live once” and to me, this short documentary is filled with inspiration, love and warmth. Since the film isn’t long, I won’t keep this post long either. I believe this nominee is a winner (at least my personal), because it’s unique, funny and tells an incredible story, which seems so common, yet eye-opening. I wish you all such friendship and so much joy in life. You already have this joy – all you need is to spot it. Sometimes it’s hidden in your morning coffee or favourite armchair you like to sit in. So it’s time to notice such joy and your life will be sweeter. Stay lovely, stay strong and watch wonderful films!

My rating: 8/10
S.

It’s the things we love most that destroy us. “The Hunger Games: The Ballad of Songbirds & Snakes” (2023)

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directed by Francis Lawrence
© 2023 Lionsgate Films. All Rights Reserved.

Just to point out at the very beginning – I haven’t read the books, but I’m a fan of the idea and I watched the first part of “Hunger Games” at least 3-4 times. Unfortunately, I enjoyed only the first two parts – the two last ones were terrible, in my opinion. So when I heard about “The Ballad of Songbirds & Snakes” I wasn’t that much excited, because I was worried it’d be similar to both parts of “Mockingjay”. Still, my curiosity won the battle and I pushed myself to watching the prequel, what today’s film actually is. The story is set 64 years before the first part of the series and the character we’re following is Coriolanus Snow (Tom Blyth). If you know “Hunger Games” series, you might be surprised by the choice of the protagonist. But to me it’s marvellous, because we get a chance to see his journey and understand why he ended up being the way he was. However, if his name doesn’t ring a bell to you, then even better – you may enjoy the film on a totally different level, so I’m not spoiling anything. In this prequel, Coriolanus is an Academy student in Capitol and he’s among 24 people chosen to mentor the participants of the upcoming Hunger Games. Each student is given one participant to lead and the one who does the task best will be awarded. Coriolanus wishes to obtain the award because it’s a scholarship that would change his family’s financial situation. The young man is assigned to mentor Lucy Gray (Rachel Zegler), a young lady from District 12. She’s quite extraordinary and immediately draws attention to herself by singing whatever she thinks and feels. But singing, even beautifully, will not save her during the Games. Or will it? That’s for you to see. I have to say that this part is not as good as the original first films, but I actually enjoyed getting back to this fictional reality and going through Hunger Games once again, just from a different perspective and in different circumstances. It is entertaining, so you shouldn’t complain about getting bored, but what I liked the most is the main character. I seriously loved following his journey and seeing all those little changes in him. I’m not a fan of only good and only bad characters – I need some shades of grey to enjoy this mental game the film is playing with me as a viewer. I want to be the one who decides whether someone in the story is doing the right or wrong thing, and I feel like this production is giving you this opportunity. Besides, you get to listen to some lovely singing by Rachel Zegler, which was a true glitter in this post-apocalyptic scenery. I actually wouldn’t mind if they made a series out of the story so we can see other Hunger Games and also observe the development of the idea for such “entertainment”. It’s even more interesting to me considering the sociological point of view. Special effects are one thing, but what comes to our minds watching such mentally rotten society is another. So yes, more Hunger Games, pretty please!

My rating: 6/10
S.