That small thought is all it takes to lose control. “Possessor” (2020)

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directed by Brandon Cronenberg
© 2020 Elevation Pictures. All Rights Reserved.

If you’ve seen at least one film by David Cronenberg, I bet your cinephile’s life is no longer the same. I’m not sure what to think about this director as most of his films make me question the meaning of life in a rather negative way, yet there are some that I could say I “enjoyed”. But am I a big fan? Nah. However, today’s production is actually made by David’s son – Brandon Cronenberg. And perhaps I’ll say something controversial here, but I do believe the younger generation has more potential to present. Still, if you think that the apple doesn’t fall far from the tree… you’re right, because Brandon seems to be following a very similar path to his father’s – just with a better equipment and idea where he’s going, if you know what I mean. In this film we meet Tasya Vos (Andrea Riseborough), an assassin who works in an unusual way. Instead of killing her targets herself, she possesses other people’s bodies and kills as them. All that is possible thanks to fancy brain implants and advanced technology, which we all know from sci-fi productions. After finishing her job, she has to commit suicide as the person she’s possessing and this way she may return to her own body. Easy? Well, judge yourselves. Except work, Tasya is a wife and mother, which becomes more and more difficult to manage. Since she constantly has to possess other people, she starts questioning her own self and who she actually is as a person. Detaching from her family would make things easier, but the woman doesn’t want to lose the loved ones. One day, Tasya gets another mission and a new person to possess. Even though she knows what to do, not everything goes as planned… but that’s for you to see yourselves. I have to say that Brandon Cronenberg way of writing screenplays speaks to me way better than his father’s concepts. I seriously enjoyed going into this film’s world and I felt like I was taken care of as a viewer – that I’d not get lost in the story at some point. This film is strange, but you shouldn’t expect anything else coming from men with that surname – and it’s a compliment, because we need some strangeness in cinema. However, it also makes you reflect on the topic of relations, at least that’s what it did to me. What if someone started possessing us – would we even notice? Or maybe that would be easier for some of us? And if so, how would we feel being surrounded by people, some of whom could be possessed by someone else and we would no longer know who we’re dealing with. Welcome to my mind, dear reader, that’s what happens when I get a sci-fi film. I personally love when filmmakers play with this topic of personal detachment and mind control, because it’s something that may be our reality in the future, who knows? And nothing scares me more than probable scenarios of the future. Give me a man with an axe chopping a group of people in a basement? Yawn. Give me a film about an advanced technology letting us possess each other? Ayuda, my brain is on fire! This film would need a bit of polishing to be more outstanding in its form, but I’m still satisfied. I’m looking forward to more questionable productions from the Cronenberg family!

My rating: 6.5/10
S.

How come all the rules are made by those in power? “Kill Boksoon” (2023)

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directed by Byun Sung-hyun
© 2023 Netflix. All Rights Reserved.

It’s one of those films that I’d like the Academy to watch and stop giving Oscars to Asian producers just because they are from [insert any Asian country]. Sorry for harsh honesty at the very beginning, but I am slightly mad at what’s been happening to Oscars. If you really believe certain films have got the award just because they were seriously the best in their category – then you’re a true optimist. Did “Parasite” deserve the main Oscar back then? No. Did “Everything Everywhere All at Once” deserve it? No! And trust me, I’m the last person who would like to give the awards only to American productions – quite the opposite. I’d love the Academy to be more open for films from other countries. But being open doesn’t mean awarding any production that shows up on their list. Since I was against awarding EEAAO, here’s a film covering some similar topics yet, in my opinion, done way better. The main character is Gil Bok-soon (Jeon Do-yeon), a single mother raising her teenage daughter Gil Jae-yeong (Kim Si-a). Except the fact that they have a typical mother-daughter relationship, Bok-soon is hiding a secret. Quite significant one. Her daughter believes she works in some office, but in fact Bok-soon is a very skilful killer, known for her effectiveness and professionalism. However, the woman starts having some difficulties at work – some people are simply not happy about her successes. But what happens at work is definitely way easier for her to handle than being a mother to a teenager who needs more attention and support. This film isn’t spectacular enough to get an Oscar, don’t get me wrong, but when it comes to the general idea and consequence in making, I enjoyed it very much. The plot is rather simple – in the end it’s an action film, we all know how it works. However, what makes this one worth watching is for sure the characters, as each of them is well-written, with a certain purpose and a reason to be in this film. I also enjoyed the camerawork and editing, which wasn’t as rapid as it often is in Korean productions. Also, the ending is not that surprising, yet somehow unusual in its form and sums up the whole film in a subtle way. Besides, if you want some women empowerment – this is a story for you, for sure. We don’t only get a female assassin, but also a picture of a brave mother who’s ready to sacrifice anything for her family. I’m not a big fan of action films, but this one caught my attention and I wish you to try it as well. And dear Academy – please, watch more films. Maybe your choices will be more objective then.

My rating: 6/10
S.

You must immerse yourself in an unfamiliar world in order to truly understand your own. “The Nanny Diaries” (2007)

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directed by Shari Springer Berman & Robert Pulcini
© 2007 Metro-Goldwyn-Mayer. All Rights Reserved.

This film seems to be quite forgotten, so it’s even better that I’m writing about it. I’m guessing that I saw Scarlett Johansson for the first time in this very production. Time flies… Anyway, I’ve recently decided to refresh my memory and see it again – and it’s terrifying how little has changed since 2007. In the story we meet Annie (Scarlett Johansson), a woman who has just finished her studies and, as every young adult, is trying to figure out what next. One day she meets a little boy named Grayer (Nicholas Art), whose mother Alexandra (Laura Linney) offers Annie a job. As she has no other option, Annie accepts the offer and become Grayer’s nanny. At first the woman believes that she’s just “joined” a lovely family, but the longer she works for them, the more differences she notices between their world and hers. This film is categorised as a comedy/drama, but to me it’s way more drama. Perhaps if you watch it for the sake of the plot and to relax your brain, you will simply have a pleasant time. But if you reflect on what’s presented in the story, the reality may hit you hard. When I was younger, I didn’t notice those dramatic elements that much, but now, as an older adult, I see many lessons being taught here. We obviously have Annie, who represents young people who are under horrible pressure from everywhere and everyone, so choosing their path is an awful challenge. We also have Alexandra, who’s a wealthy woman married to a total ignorant and who seems like she manages her life well but in fact she’s just going with the flow and makes sure not to express her confusion or any inner desires. And I have to say that this contrast between Annie and Alexandra gives quite a lot of food for thought about the position of women in the society. Or how women are perceived and what’s expected from them, no matter which social class they represent. However, the part that hits me most is presented by Grayer. Forgive my honesty, but according to me, children have become some sort of object that adults choose to own, yet they totally don’t think of any responsibilities that come with that. Everybody has a child – so will I. Who cares if I have time or any other capacity to actually raise them well? This is terrifying. Because having children shouldn’t be seen as a must or just a task to do in your adulthood to get a badge with “serious adult” on it. You don’t have to have a child, simple as that. And it’s nobody’s business what’s your reason. In fact, people who make a conscious decision not to have children because of [insert whatever reason] get my personal respect way faster than those who have 3 children and complain about the troubles of adulthood. As a person who is incredibly concerned about children’s well-being, this film hits me hard. I’m not saying that Alexandra is a bad person here, because if you analyse it, she really isn’t. I believe this film is generally about how lost adults are in being adults. That’s it. But at the same time, we have those little humans observing us and hoping we will show them the right way. So maybe it’s time to remember that. The film is not any masterpiece, but it’s quite timeless… and now I’m not sure whether it’s its advantage or disadvantage considering the presented topics… Judge yourselves.

My rating: 7/10
S.

This is the closest most people ever get to their dreams. “Last Night in Soho” (2021)

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directed by Edgar Wright
© 2021 Universal Pictures. All Rights Reserved.

There’s something mysterious about Anya Taylor-Joy because each time I see her on the screen, I know the film/series is going to be at least good. And surprise surprise – this time is no different. But before we get to her character, we begin the story with Ellie (Thomasin McKenzie), who’s a young woman being raised by her grandmother. The girl’s obsession is fashion, therefore she decides to move to London and study at its College of Fashion. Since she’s coming from rural areas, it’s difficult for her to fit in and be on the same page with other students. Ellie is very motivated and stubborn, so, in order to make her dreams come true, she moves from the dormitory to a room in some elderly lady’s house. This way she hopes to find peace and focus on fashion designing instead of her rather unfriendly peers. From the day she moves to the new place, she starts having unusual dreams – she goes back to the 60s, which is the period of time she absolutely adores. Being there, she’s following a woman named Sandie (Anya Taylor-Joy). The girl gets a lot of inspirations from her dreams and the character of Sandie, but at some point she realises that those dreams are not like any other. Ellie starts noticing strange things happening, both in her dreams and in the real life. The first thing that is impossible to miss while watching this film is amazing soundtrack – I was thrilled. Then, the camerawork is very pleasant and not that obvious. I definitely adore the dancing scene where Thomasin and Anya have to change from time to time – I actually saw how it was shot and except being a fun thing to see, I was impressed how well they organised it. Acting – I guess I don’t have to even give any argument for that. But what is this film really about? That’s a good question I asked myself and I’ll be happy to answer it as well. Some people say it’s about the problem of not fitting in and trying to escape to a different reality to feel comfortable with ourselves. And I would agree with that if only the other half of this film didn’t exist. But it does, and that makes me question the actual idea. I actually believe it’s a beautiful picture with a quite average narration. I’m afraid the filmmakers weren’t 100% sure which point they want to reach so they decided to reach them all. This film is fascinating, makes you stare at the screen and wonder what happens next – but at the end you may ask yourself “what did I just see?” Aesthetically and technically – marvellous, but someone forgot to polish the screenplay. Still, if you want to see the magnificent Anya and listen to some quality music, this film is something to go for. Plus, it is kind of creepy, so if you’re searching for something weird, yet not too scary for a horror night with your significant other – that’s also a good choice.

My rating: 6/10
S.

Only by dispassionate analysis can we get to the bottom of our inaction. “The Exterminating Angel” (“El ángel exterminador”, 1962)

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directed by Luis Buñuel
© 1962 Altura. All Rights Reserved.

If you asked me “who would you like to meet in your life?”, I bet one of my choices would be Luis Buñuel. I know, he’s no longer with us, but I feel like a conversation with him would be one of the most fascinating experiences of my life. During each of his films there’s a point at which I say to myself “no, you didn’t…” – and yes, he did. Today, I’d like to recommend you a story that won’t only entertain you, but also make you reflect on things you perhaps have never reflected on. We’re moving to a fancy mansion where Mr. and Mrs. Nóbile are having a party. Oh, sorry, not a party… an elegant meeting with their acquaintances. Each guest is worth a fortune, so just imagine the level of glamour in that place. However, a strange thing happens right before all those rich people arrive – the mansion’s staff leaves without any explanation. Then, when all the invited gather together, they start mingling and listening to one of the ladies playing the piano. At some point, the guests start suggesting going home, but… they simply don’t. Despite their willingness to leave the room, they just can’t do it. There’s no barrier, no guard forbidding them to pass – they simply don’t go. And if you’re not familiar with Buñuel’s style, then, welcome to his head, my dear reader. Personally, I adore his productions, but I can never fully analyse them. I mean, each time I try to understand what the film is about, I come up with some ideas, yet I never feel satisfied with them. I hate the fact that I cannot just meet with Buñuel and discuss his views, because no critic in this world may see what that man saw in his own work. To me, this particular story is actually quite creepy and disturbing. Except the fact that those people are somehow trapped in that one room, the scariest part is that there’s no explanation why they can’t do anything about it. As an overthinker, I’ve found lots of metaphors hidden there, but I really don’t want to share because of two reasons: one – some of them are somehow private and based on my own life experiences, two – I’d like you to discover something for yourselves without any suggestions from my side. Buñuel didn’t like explaining his films and I respect that fully, because some stories get better if we interpret them ourselves. Even though some people say it’s a comic fantasy, I see a very subtle horror there. I guess it depends on the moment of your life when you decide to watch it, but it’s definitely not just a random film to see and forget. If you like surrealism and quality cinema, this is your new must-see for sure. And I hope you’ll find something to admire there.

My rating: 7/10
S.

Real boys don’t come back. “Guillermo del Toro’s Pinocchio” (2022)

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directed by Guillermo del Toro & Mark Gustafson
© 2022 Netflix. All Rights Reserved.

It took me quite some time to watch this film and I think I saw it one day before the Oscars ceremony… and I’m so glad I did because at least I knew who my real favourite in that category was. And the reason why I couldn’t really force myself to it was because some time before I watched Robert Zemeckis’ “Pinocchio” and… well… it hurt. I mean, as much as I admire Zemeckis, that was a really unnecessary production. Same old story, tiring and even cringy at certain points. So after that, I really didn’t want to go through the wooden boy drama again. But you know what? Guillermo del Toro did something spectacular with the well-known novel and painted it in his own style, with a pinch of mystery and even plot twists I totally didn’t expect. I believe everyone reading this post knows the story of Pinocchio, so I’ll just skip straight to telling you why admired this version so much. First, I had no idea that del Toro decided to go with stop-motion animation, so at the beginning I was positively shocked – if you’ve been reading my blog, you know I’m a big fan of this type of animation. Second, this film screams “I was made by del Toro” because it’s not adorable, it’s not cute – it’s beautiful but in a really disturbing way, which I personally loved. Is it a film for children? Well, depends. It’s not that drastic, but it’s not a shiny Disney production with catchy songs either. Besides, it is set in Fascist Italy, so we get some political background and messages, which can be understood only by older viewers. To me, that decision was great as it gave a lot of new quality to the story and made us reflect on the character of Pinocchio from a different perspective. Also, what does a boy who cannot die mean to the army? Expect such questions being asked in this film as well. Besides, I think this version has something that I missed in other versions myself, but I have to spoil it a bit so the next part is only for those who have seen it already. SPOILER coming: I believe that the end when Pinocchio returns to Gepetto is a real cherry on top. Why? Do you remember the ending in other versions? Pinocchio was turning into a human boy. However, in del Toro’s film Pinocchio stays the same. And isn’t that the point of this story? It’s a story that reminds us to stay who we are and love ourselves for who we are. Pinocchio was perfect from the beginning as a wooden boy and so shall he stay one. Damn, that’s what I’m talking about! I had tears in my eyes, but I guess they were caused by my feeling of satisfaction seeing such an ending. Thank you so much for finally making this story mean more than before. *END OF SPOILER* This animation is truly wonderful and I’m thrilled it was awarded. Not only I’m glad that Disney/Pixar was finally not a sure choice, but also incredibly proud that the Oscar went to a stop-motion animation, my beloved style. Please, let’s make more of those! At the end I may just share a funny fact – Cate Blanchett asked del Toro to give her a role in the film and he agreed, but the only character left was… Spazzatura, a wild monkey that makes only monkey noises. And guess what – she went for it. So each time you see that creepy money, remember it was dubbed by Cate Blanchett herself. Isn’t cinema just wonderful?

My rating: 8/10
S.

Make them laugh? Like a circus clown? A trained seal? “The Unbearable Weight of Massive Talent” (2022)

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directed by Tom Gormican
© 2022 Lionsgate. All Rights Reserved.

If you’ve seen all episodes of “The Last of Us” and you’re also missing Daddy Pascal, then I have something to cheer you up. Besides, it’s Sunday, we all need to chill and enjoy a bit of fun, right? So… the main character is actually Nicolas Cage playing himself. He’s a talented actor (duh!) whose time in the spotlight has gone. He’s remembered and admired for his legendary roles, but not really lucky in getting new job offers. Plus, he has a teenage daughter that visibly suffers from not having Nick in her life – all because of the man’s obsession over his own career. At some point, he decides to resign and quit acting. But he still has to earn money, right? That is why he agrees to go to Majorca and be some kind of a gift for Javi Gutierrez (Pedro Pascal), a billionaire and Nick’s huge fan. When he gets there, turns out that Javi doesn’t only want to have Nick attending his birthday party, but also wants to encourage the actor to play in the film based on a script Javi wrote. At first, Nick isn’t much thrilled about the idea, but the more time he spends with the billionaire, the more he seems to be convinced. However, a plot twist happens here, but I’ll let you discover it yourselves. I have to admit that I played this film because of Pedro Pascal – yes, I’m #teamdaddypascal and I’m glad the man is having his 5 minutes now. Except being attractive and hilarious in his way of being, he actually is a good actor and that’s great he’s been appreciated. Besides, putting Nick and Pedro in one production was a wonderful idea, because those two go very well together. Plus, I have a feeling they are both genuinely good people in their private life, so seeing them having so much fun shooting this film was a true blessing. Generally, I laughed so much, especially when they were mocking cinema stereotypes and patterns common for each genre. Besides, you may catch several jokes based on Nick’s previous performances, so if you’re a cinephile who also likes Nicolas Cage, then you should enjoy that as well. Perhaps it’s not a film I will remember after some time, but is it something good for a relaxing evening with friends? Yes, absolutely. Besides, that scene in a car when Nick looks as if he’s just taken part in 3 weddings in a row and Pedro is laughing like a child after eating way too much sugar – that’s already a classic. Make sure to check it out and if you want, you can play a game – write down as many Nick’s film references as it’s possible. Have fun!

My rating: 6.5/10
S.

If I were a rich man… “Fiddler on the Roof” (1971)

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directed by Norman Jewison
© 1971 United Artists. All Rights Reserved.

Can you imagine the Godfather as a poor Jewish milkman? Yeah, me neither. Apparently, if Chaim Topol hadn’t finally got chosen for the role of Tevye, Marlon Brando would have made another legendary performance. However, say whatever you want, but I’m glad that Vito Corleone wasn’t singing in that production. And I’m obviously talking about the famous “Fiddler on the Roof”, which is an absolute classic. Even if you haven’t seen it, I’m sure you’ve heard its famous songs not once. About the plot – we’re following a Jewish man living in 1905 Russia, whose life isn’t much complicated. However, Tevye (Chaim Topol) has one big trouble he has to deal with – his five daughters. So five big troubles, to be exact. And since all the girls are old enough to get married, it’s definitely a priority for the family to find them husbands as fast as it’s possible. Because an unmarried young woman is the worst that can happen to a religious family of 1905, right? Except the family drama that is presented in a rather comedic way, there’s a lot of political messages hidden there, but since I’m the last person who wants to focus on that, I’ll just skip it. The reason why I’ve decided to write about this particular production today is because we’ve recently lost Chaim Topol and I believe that everyone should be reminded of his acting talent. Are you angry with the Academy for their choices this year? Don’t worry, dear, they managed to piss us off even in 1972 as this marvellous actor wasn’t awarded for his legendary performance. I adore every second of this character on the screen because Topol was acting in a very precise and believable way. I feel like nowadays many actors are overacting or focusing on pretending to be someone they’re not, while those older actors were simply becoming their characters. I don’t see Topol in this film, I see Tevye. And that’s what acting is all about, in my opinion. So we should remember and praise such artists till the end of time. Besides, this production was technically better than many modern ones, I swear. The cinematography? Best! (awarded, by the way) Editing – satisfying. Costumes? Make-up? Production design? Top, top, top. Plus, the music by Jerry Bock adapted by John Williams – per-fec-tion. What is more, the film is over 3 hours long, yet it feels like a moment that you’d like to last forever. But I guess that if a film makes you forget about reality and time, it is a huge success. Unfortunately, I’ve never had a chance to see “Fiddler on the Roof” on stage, so I cannot compare it to the film adaptation, but it doesn’t change the fact that the film is spectacular and definitely worth watching. Many people want to refresh cinema and they keep searching for something new to be done forgetting the quality we’ve worked on for a long time. Why? I won’t remember most last year’s productions in few months, yet I’ll definitely remember that look in Topol’s eyes. Oh, sorry, in Tevye’s eyes. May you rest in peace, Mr. Topol, you’ve done more than enough here. And I wish you, dear readers, to motivate yourselves each Monday listening and dancing to “If I were a rich man”. It works. Heard from friends.

My rating: 8/10
S.

Time is the thing. “Tár” (2022)

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directed by Todd Field
© 2022 Focus Features. All Rights Reserved.

I had no idea that I’d end up writing such post about this film, but here we go… Perhaps you’ve noticed already that I didn’t rate it well and because of this low rating the film is in my official “not-necessarily-to-watch” category, but I have to point out one very important reason to actually see this production. First, let me introduce you to the story and my inner pain I felt watching it. The film is a tribute to Lydia Tár (Cate Blanchett), the first female chief conductor of the Berlin Philharmonic. She’s a true professional who intimidates many with her confidence and huge knowledge on the topic of music. We can see that Lydia is slightly anti-social and has her own way of perceiving everything around her, which is even more interesting in the moments where she has to interact with different people and actually experience a diverse range of emotions, some of which she’s not that capable of. When it comes to the plot – it’s time to start complaining. I didn’t find the story anyhow fascinating, even though the character of Lydia indeed caught my attention. A way too long interview, then some strange course at the music school, then some drama with her assistant, then another drama with her new cello player… but okay, you may say I’m complaining at something that perhaps couldn’t be changed. After all, they’re telling the story of Lydia Tár and perhaps that’s what her life looked like. Yeah… here comes a surprise. As much as the film was difficult for me to stand, I was absolutely amazed by Cate Blanchett for her performance. So much that I wanted to compare her Lydia with the real Lydia, so I started searching for some video materials with the real conductor. Turns out, my dear readers, that Lydia Tár never existed. This story is all made-up. And in this situation, I cannot explain the writer, I’m very sorry. In my opinion, this screenplay is far from being perfect. There are plenty of moments which, as some may say, “could have been an e-mail”. Many critics praised the cinematography and I cannot really say whether I enjoyed it or not because it was all ruined by the editing. Some years ago I had a huge WTF moment when the Academy nominated “Bohemian Rhapsody” for the best editing and seems like this year “Tár” is taking its place. There were many long scenes where not much was happening in terms of actual action or movement, yet for example Cate was expressing lots of emotions with her body or way of speaking – and at those moment the editing should have been more diverse, with more shots from different angles, more zoom-ins, more dynamics – this way, it would support the creation of Lydia. Cate did a marvellous job, but with a bit of help from the camerawork and editing, her scenes would be leaving us speechless. So quoting some people’s reviews I’ve seen – “what is this film for?” – I have no idea either. It doesn’t tell a real story, it doesn’t show the character of Lydia as anyone to look up to (according to me and quite many female reviewers, except the fact that the character herself in definitely in the spotlight), it’s not engaging, it didn’t leave me with much food for thought – just general disappointment about the film and huge admiration for Cate. So even though I wouldn’t watch this production again, I’m recommending you to see Cate’s performance as I believe she should have been awarded for it. Thank you for your exceptional acting work. And for taking that guy’s pen (those who watched the film carefully know what I’m talking about).

My rating: 4/10
S.

This is going to sound weird… “An Ostrich Told Me the World Is Fake and I Think I Believe It” (2021)

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directed by Lachlan Pendragon
© 2021 Griffith Film School. All Rights Reserved.

If you’ve been following my blog for quite some time, then I bet you know I’m a big fan of stop motion animation. There’s something fascinating about it that never gets boring to me. Maybe I’m not being objective since I used to play with stop motion animation myself and I know how much effort and creativity it takes to make even the shortest film using thing method. Today I’d like to recommend you “An Ostrich Told Me the World Is Fake and I Think I Believe It”, which is a title that definitely catches attention. Before watching this short production with a title of considerable length, I had no idea what to expect. At first, I was thrilled it’s a stop motion animation, obviously, but then, the longer I was watching (funny to say considering it’s only 11 minutes long), the more I was getting excited by the idea. We get to know Neil who is an ordinary office employee. At some point, the man starts questioning whether the world he’s living in is real. And all that thanks to his observations and, yes, you’ve guessed right, an ostrich. An ostrich which told him the world is fake. And Neil thinks he believes it. I have to say I’m thankful to the director for choosing such a title because it saves my time writing this post. Everything you need to know is pretty much explained. But perhaps you’ve already glanced at my rating and if you haven’t – you’ve just done this at this very moment. Indeed, this short has won my heart and I really hope it’ll win an Oscar. The idea is so simple, yet not shallow or disappointing. I honestly had a lot of fun watching it, especially since it’s filled with my kind of humour. If you’d like to get some philosophical messages – I bet you can, even from these 11 minutes. But if I told you what I see hidden in this short story, it would be pointless for you to watch. And since it’s just 11 minutes long, then you have no right to skip it explaining you’ve got no time for films. For this one you do. And you should. And you won’t regret. To me this little animation is a real gem that will hopefully be awarded, because I can tell it was made by a very conscious, imaginative and hard-working filmmaker. Crossing my fingers hoping they won’t fall off and no ostrich comes out of my closet.

My ratings: 9/10
S.