Anyone can make their future whatever they want it to be. “Back to the Future Part III” (1990)

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directed by Robert Zemeckis
© 1990 Universal Pictures. All Rights Reserved.

Three films later we’re finishing this wonderful series. At the very beginning I have to admit that the last part is my least favourite, but it’s still marvellous. I’m just allergic to westerns. And since in this film Marty goes back to 1885, we’re ending up in the world of horses, cowboys and ridiculous moustaches. In case you haven’t seen previous parts, spoilers are coming. So at the end of the second part Marty (Michael J. Fox) receives a letter from Doc (Christopher Lloyd), from which he finds out that the man is safe and sound, but far far far away in the past. The boy shouldn’t be travelling there, but who can stop our naughty McFly, am I right? Especially since he finds a tombstone which says that 1885 Doc was/will be (using correct grammar writing about this series is such a challenge…) murdered 6 days after writing the letter. So with the help of 1955 Doc, Marty goes back to 1885 to save the man. And as you might be guessing, we get another portion of hilarious jokes. One of my favourites is definitely the fact that Marty introduces himself as Clint Eastwood. I mean, genius. Don’t get me wrong, this part is fantastic – funny, exciting, well-written and well-acted, but comparing to the first two, I have to rate it a bit lower. However, what I appreciate about this part is that we got a totally new idea for the story. In the first part we moved back in time, but just a bit. Then in the second part we focused on the future. So what about the third part? They could have kept on travelling to similar years, but it wouldn’t have been that interesting anymore, even though the crew is incredibly creative. Travelling to a more distant future could have turned out quite tacky, because they would have to come up with even more modern and extraordinary objects, which doesn’t always work as we know from some sci-fi productions. Choosing 1885 and more of a western form was the best option, especially since Marty and Doc fit there perfectly with their crazy ideas and adventurous way of being. In fact, Zemeckis liked the idea of presenting the Old West already at the beginning of creating the series, but waited with it till the third part. Awesome decision, if you ask me. Besides, *SPOILERS COMING* I honestly appreciate how they finished the series. Marty learns his lesson to give up on stupid people and focus on himself, Doc finds love and his place in the world (or time), we get a lovely message at the end saying that future isn’t written yet – what else could we ask for? I mean, they could have created a time machine in the form of a flying locomotive… oh wait, they did. So yeah, check, check, check. I’ll say it once again – I’m incredibly thankful for this series because it’s a perfect example how to make quality adventure films. Michael and Christopher are such a magical duo that I’m always moved to see them together after years during some events or conferences. They still share those awesome vibes and we can tell they are true friends. Thank you Robert Zemeckis for taking us for such a long and phenomenal trip. It won’t be forgotten.

My rating: 8/10
S.

Where we’re going, we don’t need roads. “Back to the Future Part II” (1989)

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directed by Robert Zemeckis
© 1989 Universal Pictures. All Rights Reserved.

Continuing our week with Robert Zemeckis, today’s a reminder to see the second part of “Back to the Future”. In this one, they are not really getting b-a-c-k to the future, they’re going there for the first time. I mean, to the new future… the more distant future… You get it, right? This time, Marty (Michael J. Fox) and Doc (Christopher Lloyd) are going to 2015 (which was a really distant future back then), where they need to stop Marty’s son, Marty Jr., from getting in trouble. Somehow they manage to save little Marty Jr., but the big Marty is so blinded by what the future looks like that he decides to profit from being in 2015. He buys an almanac (annual publication) with all the results of the most significant sport events from 1950 to 2000. This way, when they get back to the 80s, Marty will be able to earn some money on betting. Unfortunately, something has to go wrong, right? We have to have some plot twist. Biff (Thomas F. Wilson), known from the first part, notices the two main characters and decides to realise Marty’s plan before him. Biff goes back in time to give the almanac to his younger self and then gets back (are you even following?) to 2015. When Marty and Doc finally travel back to the 80s, they end up in a totally different reality they left before travelling to the future. The rest is for you to see (or remember). I have to admit that for a long time the second part was my favourite of the series. Maybe it’s because I was fascinated by the way they’d presented future and it was just more entertaining. Now, living in 2023, I can definitely say that the first part is for the win. Am I getting old? Am I already old? I have no idea, but the first part wakes up some deep nostalgia in me and I’m thankful for that. However, the sequel is still a masterpiece in my opinion, so I’ll be defending it. First, I love the fact that they didn’t cast any actors similar to the main characters – all children, parents, grandparents are played by the same actors, which makes it even more ridiculous and entertaining at the same time. Second, I’m a huge fan of the way they presented future. All the ideas, all the little details, all the jokes about how things may look like in 30 years – that’s just precious. Especially now, as we know exactly what 2015 was like. Besides, have you noticed how positive Zemeckis future was? Many filmmakers, writers, artists present their predictions in rather dark shades, while Zemeckis just made it all look fun and worth waiting for. For example, the hoverboard – come on! I’m in 2023 and I’d like one! By the way, do you know how they managed to trick us with it? Because how is it possible that they had a functioning hoverboard in the 80s while shooting the film, and we don’t have it now? Well, the secret to it is… do you want to know? Do you REALLY want to know? Well, fine, you’ve been warned – the actors were hanging on wires (later erased in post-production) while the hoverboards were simply attached to their shoes. Magic taken away? Welcome to adulthood. Anyway, not to sweeten too much, I have to say I didn’t like the character of Jennifer being so involved in the story. However, I guess I wasn’t the only one. If you remember, the first part ended with Jennifer joining Marty and Doc in the car. Zemeckis wasn’t planning to make any sequels, but after the huge success of the first part, it would have been highly irresponsible of him to leave us without any more adventures to see. Still, since Jennifer was in the car, she had to go to the future as well… I’m not saying it’s such a tragedy, because in the end her character was involved in a very creative way, but I have to complain about something, right? Anyway, make sure to watch this part and try to forget I revealed the hoverboard secret to you.

My rating: 8.5/10
S.

I guess you guys aren’t ready for that yet. “Back to the Future” (1985)

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directed by Robert Zemeckis
© 1985 Universal Pictures. All Rights Reserved.

Since recently the documentary about Michael J. Fox has been released, I felt the need to rewatch all three parts of “Back to the Future” and I cannot imagine my blog without posts about those three masterpieces. That is why, we’re starting a week with Robert Zemeckis and his works of art that have become legendary productions and the reason for oldies to shed a tear. May I just say that Robert Zemeckis should have some temple where all cinephile could go to and thank for his stubbornness? I mean, talent and creativity as well, obviously, but he’s an incredibly stubborn man as well. Can you imagine that his idea for “Back to the Future” was rejected more than forty times? Forty! And yet, when he offered the main role to Michael J. Fox, the actor couldn’t take it as he was busy with another project. You know what Zemeckis did? Kept on being stubborn. He actually chose a different actor, but after shooting several scenes he couldn’t see his ideal McFly, so he insisted on Michael joining the crew, even though it meant losing money on re-shooting some scenes. Insanity? Perhaps, but don’t we appreciate it now? So if you start some petition for that temple, let me know. Anyway, I’m aware of the fact that my readers are of different ages so maybe there are some who haven’t seen this series of films. Today, I’d like to recommend you the first part, which was released in 1985. We get to meet Marty McFly (Michael J. Fox), a teenager from a rather miserable family, however, he seems to be doing quite fine. He plays the guitar in a band (which isn’t that famous, but hey – at least it’s fun) and has a wonderful girlfriend who supports him in succeeding in life and not following the example of his parents and siblings. Marty also has a quite extraordinary friend – Emmett Brown (Christopher Lloyd), shortly called Doc, who’s a scientist and asks the teenager to meet him at night. And what happens then is the beginning of a fantastic adventure. Doc presents his time machine which is DeLorean car (because travelling in time should also be cool and fancy), but right after doing that, he gets killed by terrorists. Terrified Marty tries to drive away to save himself from the gang, but after reaching 142 km/h he goes back in time to 1955. Now, the teenager has to get back home to 1985, save Doc and also make sure that his parents fall in love with each other. Otherwise… there might be consequences. Seriously, if you ask me for my favourite adventure film from the 80s, this is the title I’m going to shout. I’ve seen it numerous times and it never disappoints in entertaining me. When it comes to the casting, we all know the story about Michael now, but what about Doc? You know that the role was supposed to go to John Lithgow, but since he was unavailable, Christopher Lloyd was the one to get it? All I can say is that I’m thankful for Mr. Lithgow for having other projects, because there’s no better 80s duo than Doc and McFly, and they have to be Christopher and Michael. Besides, if those two wonderful actors hadn’t done so well, we wouldn’t have “Rick and Morty”, the series that so many people adore these days. I admit, I haven’t watched it (yes, shame on me), but it was in fact inspired by the duo from “Back to the Future”. However, even though it’s an adventure film, please make sure to watch it closely, because the filmmakers put a lot of effort in leaving tiny allusions and jokes that can be understood only if you really pay attention. I hope you’ll find as many as it’s possible and enjoy watching or rewatching this masterpiece. And all I can say is – to be continued…

My rating: 9/10
S.

I’m already on the bus. “Still: A Michael J. Fox Movie” (2023)

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directed by Davis Guggenheim
© 2023 Apple TV+. All Rights Reserved.

I was really looking forward to seeing this documentary as I’m a fan of Michael J. Fox and I was simply curious how well (or how badly) they managed to present the amazing person he is. And you know what? As much as I’m tired of all those biography productions, I can definitely say this film is an example how to make them. If you haven’t followed Michael J. Fox much or/and you haven’t seen his performances, don’t you worry. This documentary takes us back to the beginning of his career and explains every step very clearly. He started as a child actor and that was already the time when he knew what his path should be – acting. For those who are familiar with his work it won’t be a surprise to learn that “Back to the Future” directed by Robert Zemeckis was Michael’s milestone and after releasing the first part, he suddenly became incredibly famous. Sounds great, right? A young man who had to work hard to make his dreams come true finally gets appreciated and his career looks promising. Unfortunately, reality can destroy the most beautiful plans. At the age of 29, so at the very peak of his career, the actor gets diagnosed with Parkinson’s disease. From that moment, Michael has to struggle with more and more visible symptoms, which is even harder considering he’s constantly being watched. How can you stop a shaking hand when you’re in front of the camera? There’s no switch to turn it off and then, at home, turn it back on again. Even though I’ve watched this documentary and heard him telling about the struggle, I still cannot imagine what a nightmare it was to him hiding his disease. You can see in his eyes how passionate he was and is about his profession, how much he doesn’t want to give up and how much it cost him to continue acting. But you know what? Despite all this, Michael is an absolute optimist. He’s a fighter with a constant smile on his face, even if smiling is now more difficult for him to achieve. The disease has a big influence on all parts of his body, including his face. But when he speaks to the camera, I still see those sparks in his eyes that say more than his disabled body language. Speaking of technicalities – as Michael tells you his story, we can see his younger self in films doing similar things to what he tells us about. The way they managed to choose those scenes and then, edit them in the way that we feel like watching a documentary and not a complication of his performances as an actor – that was brilliant. It was actually very much reminding me of the 80s style of telling stories (in the end that’s when Michael was shining the most on the screen) and, even though it’s a documentary about a seriously ill artist, I felt so peaceful and relaxed. As if he was saying “I’m fine, don’t worry about me, we’re gonna figure it out”. Marvellous production and I hope filmmakers specialising in documentary will follow this example.

My rating: 8/10
S.

I’m not a girl. I’m a woman. “Dalva” (2022)

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directed by Emmanuelle Nicot
© 2022 Hélicotronc. All Rights Reserved.

Today, I’d like to recommend you a film that may stay with you for a long time. I wasn’t entirely sure what to expect from it before watching, especially since its subjects cannot be considered as easy ones for sure. In the end, I left the cinema speechless and convinced I have to write a post for you about it. The main character that we’re following in this story is Dalva (Zelda Samson), a 12-year-old girl, who’s taken away from her abusive father. The man has been manipulating his daughter for years making her believe that whatever he does to her is absolutely fine. Dalva, despite such a young age, differs from her peers, which becomes even more obvious when she moves into a foster home. Her appearance and choice of clothes visibly don’t match her age, but also her way of thinking and behaving seems incredibly mature. For us, viewers, and all the adults involved in the girl’s case it’s not difficult to understand that Dalva’s father is a criminal and has been hurting his own child, but the 12-year-old has her own perspective. She’s so trusting, empathic and devoted to her father that she truly believes he didn’t do anything wrong. On the one hand, it might be caused by the constant manipulation, on the other, perhaps Dalva hasn’t learned about other and much healthier relations between a parent and a child. That is why she loves her father the way he is because that’s the only possible scenario of their relation she can imagine. In the foster home, Dalva has a chance to meet other teenagers and learn how to be a 12-year-old, although all her new friends there have also been through a lot, so the communication and interaction between them are also quite specific. Personally, I was stunned by this production. First, because of the main idea of showing deeply manipulated and abused child so peacefully. Watching this film you kind of feel like Dalva herself – as if nothing wrong has happened. But you know that it’s not true, so you’re literally fighting with yourself and your own emotions. There are several genuinely funny moments in the film, but after laughing at them I had this tiny alarm going off in my head reminding me that it still is a terrifying drama. Why am I laughing? Should I be laughing? This production really plays with your emotions, but I loved it for that. Second, I was absolutely amazed by little Zelda, who wasn’t much older than her character at the time of shooting. Her role was demanding and I bet many adult actresses wouldn’t have done it better than her, so chapeau bas and I can’t wait to see Zelda in next productions. And lastly, maybe you’ll be surprised to read it, but to me none of this film’s elements is pointless. What I mean by that is every character, every dialogue, every shot – they all mattered. And I’m even more thrilled knowing that it was the director’s debut, which means she has some natural intuition about making quality productions with engaging stories. Mer-veil-leux! One of the best films I’ve seen this year and you know how picky I can be, so this is my honest opinion and recommendation. Don’t you dare miss it.

My rating: 8/10
S.

Freedom! “The Blind Man Who Did Not Want to See Titanic” (“Sokea mies, joka ei halunnut nähdä Titanicia”, 2021)

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directed by Teemu Nikki
© 2021 It’s Alive Films. All Rights Reserved.

Today, I’d like to recommend you a film that amazed me by its form and which stands out from most modern productions. Finnish cinema is quite unusual and I believe it’s not for everyone. By that I don’t mean you shouldn’t watch their productions – totally the opposite, films are for whoever wants to see them, but Finnish style may not attract such big audiences. Still, I hope my post encourages to check out this title as it was a real surprise to me. We get to know Jaakko (Petri Poikolainen), a Finnish man living on his own. He’s blind and in a wheelchair, which makes his world very much limited. Jaakko does have some support from a caregiver, but other than that he’s stuck in his flat. Luckily, the man has some company because he’s in constant contact with Sirpa (Marjaana Maijala), a woman living far away but calling him on a daily basis. Those two have a very strong chemistry despite struggling with serious problems in their lives. When Sirpa shares some updates about her health condition, Jaakko decides to travel to his beloved one and support her in person. But, as you might be guessing, that won’t be easy since he cannot see and needs to be in a wheelchair. The background in the film is totally blurred, so we get some idea what it’s like not to see clearly. As a person with myopia – I confirm that’s how we see without glasses. Obviously, a blind person doesn’t see anything or they faintly see some shapes, but keeping the whole film with a black screen would make it a podcast, so I actually appreciate the director for choosing the blurred option. The camera is mostly focused on Jaakko’s face despite all the actions happening around him, which doesn’t make the film anyhow less interesting. I was fascinated by this slow pace and some kind of intimacy that they created. Except presenting how difficult it is for people with disabilities to function in their everyday life, this film also reminds us that they still want to feel independent and self-sufficient. It’s clear that a blind person has some limits, yet there are many other activities that such people are often excluded from. One of them is definitely falling in love. I’m afraid there’s this strange idea that people with disabilities aren’t searching for partners, don’t want to have families or don’t even wish to please themselves in various ways. As if their difficulties were the reason why they should ignore all their inner needs. This film screams “absolutely not!” – we all deserve to be loved, supported and appreciated. And we all deserve to feel like we’re the only ones who can make decisions about ourselves. Yes, people with disabilities need help in some activities, but the decision whether something should be done or not is always theirs. Period. This film is about the freedom that many disabled are fighting for and I hope the world opens up to them. I was stunned by the simplicity of this production, which makes it unique and worth remembering. Additionally, there’s an important piece of information that you may hear at the end of the film, so make sure to wait for it. Perhaps it may make an even stronger impact on you as a viewer.

My rating: 7/10
S.

Are you expecting it to be safe? “Beau Is Afraid” (2023)

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directed by Ari Aster
© 2023 A24. All Rights Reserved.

Ari, Ari, Ari… I admire this man so much for his bravery to make films that are so unusual that there’s a huge risk of not reaching to many viewers. However, his work is loved not only by me, but millions of other cinephiles, and perhaps that’s why I had such big expectations before watching today’s film. As you see, I’m still recommending it, so I did like it in the end, but it’s definitely not my favourite production by Ari Aster. In this story we get to know Beau (Joaquin Phoenix), a middle-aged man living alone in a really dangerous city. He struggles with a serious anxiety and has to be taking meds in order to function. Beau is preparing for visiting his mother, who is a wealthy and successful person, but because of certain reasons he misses the flight and has to come up with some other way to reach her. Things get complicated and the man doesn’t know how to solve his newly occurring problems, yet he really needs to visit his mother as he’s afraid to disappoint her. And that’s all you can learn from me about the plot, because what happens next is too strange to even describe it. The film is 3 hours long and I think that after 2,5h I was still not convinced about the point of making this production. Why did he do it? It’s so messy, it’s way too much in every single aspect, it’s horribly inconsistent in its form… but then the ending happened and everything became clear to me. I’m not going to spoil much, but I do want to share my interpretation of this film, so if you haven’t seen it, here’s a warning. So… I’m not sure what other people see in this story, but to me it’s an incredibly important issue that Ari has addressed. I believe that Beau is an example of a grown-up man who has been highly traumatised by his mother. You may say – nothing new, we have many stories like that. Indeed, but here we kind of indirectly focus on the character of the mother – she represents women who decide to have children without a pinch of awareness what raising a human being really means. His mother has been accusing Beau for everything from the very beginning and the boy grew up constantly feeling like a failure. If you watch closely, he keeps apologising for things he’s not even responsible for. Here’s a small spoiler – remember the messages he was getting in his flat about being noisy even though he wasn’t noisy at all? Maybe I’m wrong, but to me it was supposed to show us that the world keeps searching for someone to blame and we have to have a thick skin not to let them destroy us. Beau was raised as his mother’s personal toy to blame, so he didn’t have a chance to adapt to the real world. His parent didn’t support him in strengthening his self-esteem and finding his personal value, so he ended up feeling constantly anxious and worthless. The ending hit me the most because it showed how little we care about helping traumatised people. It wasn’t Beau’s fault to be born in such family, so from the very beginning he was left alone to learn and deal with everything our reality has to offer. And what do we do as society? We ignore. We judge. We reject. The idea for this production was marvellous and I’m thankful that it was made. However, in my opinion Ari couldn’t decide about the form and went for them all. “Hey, Ari, which form is your film going to be in?” – “Yes.” At some points it was even tacky, so that is why I cannot rate it higher. But for the sake of the messages coming out of this production – I definitely recommend you to see it.

My rating: 6/10
S.

Determination of a woman. “Mother of Apostles” (“Maty apostoliv”, 2020)

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directed by Zaza Buadze
© 2020 Golden Fleece Studio. All Rights Reserved.

Today, I’m offering you a real gem I saw during a Ukrainian film festival last year. I generally try to avoid productions about war as they are emotionally tiring and I need to be in the right mood to appreciate them fully. However, this one is slightly different. We’re following Sofia (Nataliya Polovynka), a woman whose son is a pilot. She receives news that the plane he was flying was shot down. The woman is trying to get any information about her child, yet the military shares nothing, so she decides to travel to the war zone herself. She’s not a soldier, she’s just an ordinary woman who wants to make sure her son is still alive. Despite the obvious danger, Sofia’s determination is too strong for her to give up at any point. The filmmakers take us back to 2014 when the war between Russian and Ukraine began. If you think that the occupation has been taking place for about a year, then I’m sorry to tell you it’s been over 9 years now. This production was especially significant during the last year’s Ukrainian film festival, because of the ongoing attacks on a huge scale in Ukraine in 2022. However, I wouldn’t like to focus on political issues here and instead, discuss the film itself. I was absolutely amazed by the character of Sofia. Not only it was very well played by the actress, but also it made me truly sympathise with the woman. I believed everything the character was presenting and I had chills watching her steps. She just looked innocent and weak, but deep inside she was a real lioness who wouldn’t stop until her goal was achieved. And her goal was to find her son, even if that means losing her own life on the way. Despite political and cultural aspects of this production, I admire the story for showing this unimaginably strong mother’s love that may lead to putting the woman in danger, but for sure leads to brave actions. All the interactions that Sofia has with other people are also a separate topic worth discussing. Even though there’s an ongoing war, people find some mysterious empathy that tells them to help Sofia and make sure she’s safe. I’ve never experienced war in a direct way, but I can only imagine how little everything matters – people simply try to survive. Yet, not sure whether it’s human solidarity or the energy that Sofia shares, but she’s got more luck than we could imagine. I was fascinated by this production and I hope that you’ll find a moment to see it as well. It really is a film about love and determination more than about the war. I hope you believe me.

My rating: 7/10
S.

It’s an entirely different kind of flying. “Airplane!” (1980)

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directed by Jim Abrahams, David Zucker & Jerry Zucker
© 1980 Paramount Pictures. All Rights Reserved.

Today’s film is definitely a classic and a production that’s not for everyone. What I mean by that is back then, in the 80s and 90s, making an inappropriate joke was actually a difficult task. Nowadays, we try to be more politically and socially correct, so we really have to be careful what we’re laughing at, even if those are just silly jokes and we have no intention of hurting anyone. I remember watching “Airplane!” when I was younger and I did consider those texts a bit cringy, yet I didn’t feel like they were crossing the line that much. Until I ended up in current times where thinking twice before speaking is very much recommended. Anyway, if you’re able to forget about any kind of correctness and just want to spend a relaxing Sunday afternoon with an old comedy, that’s your choice. Telling you about the plot is actually pointless because it’s really not that important. The filmmakers wanted to mock typical disaster films with airplanes in the spotlight. Except the obvious flight that happens there, we have some love story, we have a dramatic story, the passengers are of different ages, cultures and backgrounds – so all the points of “how to make a decent disaster film” have been covered. What matters in this comedy is that it’s made by people who visibly had a lot of fun on the filmset and they wished to give us, cinephiles, a piece that will let our brain take a breath after all those overly intellectual productions we often watch. Was is a success? Definitely. I’m sure many of my older readers remember this film well and my post is just a nostalgic reminder of how cringy and inappropriate our humour used to be, yet it was ours and I’m sure some of us miss those times. I can’t even count how many legendary texts were said there, which makes me smile even now as I think of them. However, if you haven’t seen this comedy, try to remember that it’s just a parody full of jokes that are not there to offend anyone. And perhaps, you’ll spend a fun Sunday flight with Leslie Nielsen. Over.

My rating: 7/10
S.

You don’t have to say anything. “The Quiet Girl” (“An Cailín Ciúin”, 2022)

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directed by Colm Bairéad
© 2022 Break Out Pictures. All Rights Reserved.

I feel like today’s film wasn’t much visible during the Oscars’ ceremony. I mean, generally international films get less attention and here I am to encourage you to check this title out. “The Quiet Girl” represented Ireland during the Oscars this year and I think that Irish people should be proud of that choice. I wasn’t so sure I would like it, even when I started watching the film, but the ending made it all clear to me – this production is brilliant. But first, the plot: we’re moving back to the 80s where a little Cáit (Catherine Clinch) in living with her family in the country. The girl has many siblings and her mother gets pregnant again, therefore they decide to send Cáit to stay with her distant cousin Eibhlín (Carrie Crowley) and her husband Seán (Andrew Bennett). The girl has troubles fitting in at school and is generally incredibly quiet, which makes it even more difficult for the couple to communicate with her. At the beginning, they treat Cáit like an ordinary girl, but soon they realise she is not like other girls in her age. If you think it’s getting spooky here, then absolutely not. In fact, it’s a heart-breaking drama that hits hard when you really get into its world. Cáit represents all those neglected and unloved children who grow up insecure, unappreciated, unprepared for the reality they’re living in. The girl is so used to being maltreated that she considers it as normality, something that has to be accepted. The cousin and her husband show Cáit that she can be a cheerful and curious child, who deserves love, stability and support in her everyday life. There are many productions that tackle this topic, yet this film is somehow outstanding because not only the girl is quiet – the whole film is quiet. It’s incredibly calm and silent, but you may feel horribly anxious, even disturbed while watching. We don’t get tacky dramatic scenes – they are all well-planned, well-produced and full of emotions, even if not much is happening on the screen. I believe the ending is a true cherry on top, so make sure not to give up on this story somewhere in the middle. Besides, the little actress playing Cáit, Catherine Clinch, had a very difficult task because she had to express a lot without really expressing that much, if it makes sense. She had to really understand her character and make us believe in her story. I did, and I hope you will too. Great job, Ireland.

My rating: 7/10
S.