Mind your keys, will ya? “Dial M for Murder” (1954)

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directed by Alfred Hitchcock
© 1954 Warner Bros. All Rights Reserved.

Recently, I’ve heard that Tuesday is the most depressing day of the week, so perhaps you’ll enjoy a good thriller counting hours till the next weekend. Today, I’d like to recommend you a classic by Alfred Hitchcock, the father of amazing thrillers, which perhaps isn’t his most famous production, yet definitely worth watching. We get to know a lovely couple of Tony and Margot (Ray Milland & Grace Kelly), a retired tennis player and a very wealthy, famous lady. Right at the beginning we find out about the main issue of this story – Margot is having an affair with a writer named Mark (Robert Commings). The best part about this little romance is that Toni is aware of what’s happening between those two and he wishes to get revenge. And what’s a sweeter revenge (especially in Hitchcock films) than a murder? Yes, exactly! Toni wants to kill his wife and inherit all her money, which is a wonderful vengeance for the betrayed man. He asks an old friend (Anthony Dawson) to do it since he actually has some criminal background, but the perfect plan doesn’t go exactly as it should… I’m a big fan of Hitchcock, so obviously I’ll always recommend his films with pleasure, but this one I like because of two main reasons. First, everything is happening in one flat, which has always fascinated me. Some filmmakers think that they need huge budgets and thousands of spots to shoot a good film, while there are artists who create masterpieces in one room. But the key to that is a magnificent idea, and that’s my second reason – the whole story is very well-written and you can see how the screenwriter paid attention to all the details that in the end make a lot of sense and you don’t feel like watching a cheap thriller. Plus, I was pretty sure they wouldn’t surprise me with the ending, but they actually did, even though the film is rather slow and allows you to process all the steps very carefully. It’s pure magic that only Hitchcock can do, so if you’re having a blue Tuesday, feel free to make use of my today’s recommendation.

My rating: 7/10
S.

Stop crying and pack your things. “A House Made of Splinters” (2022)

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directed by Simon Lereng Wilmont
© 2022 Final Cut for Real. All Rights Reserved.

Today, I’d like you to learn about a documentary that stopped my heart several times. I’m not an overly sensitive person, at least I think so, yet when it comes to seeing anyhow neglected children, I can’t stay indifferent. This documentary is coming from Ukraine, but it was shot before the beginning of the war. We get to know children from the city of Lysychansk, who are currently staying in a temporary foster home. As we find out, they can stay they up to 9 months, during which their parents may fight for the right to take them back home, someone may adopt them or the authorities decide about their next steps. I’m sure we’re all aware of the fact that there are numerous orphanages or such foster homes all over the world, but I guess we rarely speak about the actual situation of those little humans staying there. Way too rarely. In this documentary, we get a chance to experience such place from the perspectives of the children. Children who have been left alone, neglected, abandoned and forgotten. Children who have become unwanted and pushed away. Children who have seen things nobody should ever see. What crashed me the most while watching was the fact that those children didn’t cry that often – they’ve accepted their situation and reality. Being asked about their parents, they simply admit that there’s no chance for those adults to change anything in their life so all those girls and boys are ready for taking care of themselves. Or perhaps they are not ready, yet they just have to do that. All the phone calls between the children and parents, all the conversations between the children and their caretakers in the foster home – those are words that you should all hear from them. I felt incredibly empty inside and I guess I still do. As I said before, this documentary was filmed before the war and I can’t find any information about their situation right now, but I can only imagine what a horror those children and people helping them are going through. It’s a film that should be watched and should be shared. It’s full of pain, but I believe we have to be reminded that this is the world we’re living in, even if we don’t see it on a daily basis.

My rating: 7/10
S.

Don’t let anyone steal your magic. “Opal” (2021)

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directed by Alain Bidard
© 2021 Ciné Woulé Company. All Rights Reserved.

If you’re hoping to read about an adorable animation for children, then I’m afraid I’ll disappoint you. However, if you’re looking for a film that will stay with you for a long time, then welcome. Today I’d like to recommend you “Opal”, which is probably the best animation I’ve seen this year, so trust me, it means a lot to me. Before watching I was pretty sure that would be a rather pleasant projection during which I’d relax and feel like a child again. Oh well… Let’s begin. We’re discovering a magic kingdom where everything is slowly dying because of some mysterious reason. Soon we found out that this world is supported by a little princess named Opal (Dawn-Lissa Mystille), whose well-being influences what’s around her. Shortly speaking, if the girl is fine, the kingdom is full of life. If there’s something wrong with her, the kingdom is also getting worse. Opal has some incredibly strong magic power in herself that recently has been being stolen by her father, the king. He secretly visits the girl in her room and manipulates her to give him the power so he could fight with some mysterious creatures. Opal, assured that her father is protecting them all, agrees to what he does to her, despite feeling incredible pain. However, soon she realises that the king is lying to her and she wants to escape the castle, hoping to run away from him. If you’re still not guessing what this film is really about, perhaps you should stop reading my post now and watch it. However, if you do read between the lines, I’d like to continue and comment on it. I understood the actual story right away and for the whole time of watching I felt this overwhelming insecurity mixed with anxiety and helplessness. When I finished it, I was pretty sure it shouldn’t be shown to children as it is way too harsh, in my opinion. However, after some days I’ve realised that it’s a very important production that may help children who have been abused by their parent or any adult. They may actually see themselves in the character of Opal and see how strong and brave the girl is, that no matter what, she takes care of herself and does everything to escape the toxic situation. And that there are good people who may support you, even if the closest ones constantly hurt you, and it’s important to open up to those who give a helping hand. Also, the moment when Opal meets her negative emotions – that was a very beautiful metaphor to what a lot of children and adults abused in their childhood are going through. This film drained me emotionally, but I’m glad it did – we need such smart and meaningful productions. The ending was just spectacular and I was staring at the screen with a waterfall on my cheeks. So if you want to see something difficult, yet absolutely fantastic in its form – this is your film.

My rating: 9/10
S.

People with coulrophobia kindly asked to find a different film. “Terrifier” (2016)

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directed by Damien Leone
© 2016 Dread Central Presents. All Rights Reserved.

Alright folks, Halloween is coming, so I guess you expect a rather creepy recommendation from me today. With absolute pleasure, I present you – “Terrifier”. If you follow cinema news more of less, perhaps you’ve heard of the title this year as they released the sequel, “Terrifier 2”, in October. Even though it’s been screening for not that long, it’s already been called one of the most disgusting horrors ever made. Apparently, a lot of people in cinemas decide to “return their lunch” or unwillingly have a ride in an ambulance. Personally, I haven’t seen the sequel yet, but I can definitely recommend you the first part. Watching it shouldn’t cause you any troubles, but hey, it’s your choice to watch a slasher, right? If you’re scared of clowns, that’s even better/worse, because the bad character in this film is Art the Clown (David Howard Thornton), a guy in fancy clothes and way too much make-up. And since it’s a slasher, then I guess you know exactly what’s about to happen. Our adorable Art the Clown likes stalking people and cutting them into pieces, shortly speaking. But before you give up on this film, let me tell you something – I’m not a fan of typical slashers. To me they are incredibly boring, predictable and, let’s face it, ridiculous. We all tend to joke about protagonists walking inside houses that they shouldn’t be walking in, not checking their cars before going to some unknown forest, hiding behind a curtain hoping the killer is actually stupider than them and all such. And I cannot lie that in this film the situation is drastically different, however, there’s one important reason you should see it – Art the Clown. The character of Art the Clown has stolen my heart since the very beginning. He’s one of those bad guys that are scary by just being. They don’t need to say anything, they don’t need to run after you with a weapon – they just exist. Exist and stare. And that’s all you need to feel uncomfortable watching. A lot of critics pointed out that Art the Clown is the strongest point of this horror, but let me just add two more – camerawork and editing. No matter how amazingly the actor played this character (by the way, he has some mime experience, which adds a lot to this role), it wouldn’t have turned out so creepy without the help from the crew. And I see that they cooperated well in order to make Art the Clown even more disturbing in his way of being. Besides, this slasher is actually funny at some moments… or it was to me and I have a strange sense of humour. But if you’ve liked my recommendations so far, then perhaps we share this sense of humour and you’ll enjoy the evening with “Terrifier”. But just in case – get yourself a paper bag before playing start. I don’t know, just in case.

My rating: 7/10
S.

It’s about finding the colour. “Prism” (2021)

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directed by Rosine Mfetgo Mbakam, An van Dienderen & Éléonore Yaméogo
© 2021 Icarus Films. All Rights Reserved.

The African Film Festival has started for me and perhaps I’ll surprise you with today’s recommendation because it’s a film I was incredibly sceptical about before watching. I checked the description and it said this documentary is focused on the topic of racism coming from photographic technology. Wait, what? I was highly confused, but obviously curious so I ended up watching the film. Turns out it’s way more complex and less drastic than the description suggests. Indeed, we get a chance to study about the history of photography and how, back then, that industry was very much focused on providing a quality technology in order to capture white people well, while those of different skin colours weren’t that visible and clear on the screen or photograph. I’m not a technician and I don’t want to explain it in a wrong way, especially since everything is beautifully presented in the documentary, but shortly speaking – all kinds of parameters and settings were adjusted to white-skinned actors/models/presenters. The reason why I was sceptical about watching this film was because I honestly thought (and still do) that racism comes from actions people do consciously, while I didn’t see it coming from the said industry. And I was very pleasantly surprised to see the narration in this documentary which is far from blaming photographic technology for spreading racism. In fact, we may listen to cinema people agreeing that it was a matter of business, shortly speaking. In the past, most people being photographed on a big scale were white, so obviously most technological devices and materials were produced with such view. Moreover, black-skinned guests of this documentary point out that a lot of technicians might still not know how to set their devices to photograph a non-white person, but, what’s most important, they are willing to cooperate and support each other. I also appreciated focusing on the future instead of the past. It’s clear that a lot of situations shouldn’t have happened, but this never-ending deliberation about the past can’t change what did take place. However, if we start educating, sharing our views in order to make a change for the next years, I believe we may see some actual positive results. I honestly think the description of this documentary found on the internet might discourage some of you from watching, but let me assure you its narration is way more pragmatic and peaceful. I’m thankful for such productions and always happy to be sharing a word about them with others.

My rating: 7/10
S.

You need love to sustain the bond, not the presence. “Someone” (2021)

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directed by Sid Bhagvathula
© 2021 Infinite Entertainment. All Rights Reserved.

One of the reasons why I’m happy to be writing this blog is that I have a chance to get in touch with independent filmmakers, who often have incredible stories to tell, about which I probably wouldn’t ever hear if I wasn’t a film blogger. Today I’d like to recommend you a story that didn’t catch my attention at first, but the longer I was watching, the more I was living it. We get to know Sebastian and Akanksha (Vibhu Kaushik & Shreya Ranjan), an adorable married couple that could definitely play in TV commercials advertising holidays for lovers and such. You know, a beautiful picture with two overly cheerful people. However, the paradise they’ve created gets destroyed when Akanksha loses their baby. From that moment, the couple has to deal with a horrible grief, which overwhelms them both. In fact, both need alone time to manage the pain themselves, which moves them away from each other. First thing that I definitely have to appreciate is the choice of the topic. Dealing with a miscarriage is often presented as a woman’s problem, yet both partners are usually struggling with the loss, each of them in a different way. Second, it shows the importance of strong relations in a relationship. I’m not a fan of those ready-written marriage vows, but one line speaks to me loudly – “for better and for worse”. And I believe that it’s the point a lot of people forget about or simply ignore because they are blinded by the current state and momentary chemistry. Searching for a good partner we should definitely ask ourselves whether we can count on them when things get critical. Unfortunately, even minding that we sometimes have no idea how the other person might react while dealing with something sudden and painful, so it’s actually the big mystery of relationships. It’s an incredibly complicated topic and I’m glad filmmakers decide to put a spotlight on it instead of creating another copy-paste romantic comedy where “they lived happily ever after”. Third, I’m a fan of non-linear timeline in films and here we’re jumping from the past to present and future, which makes the story more engaging. The only two things that bothered me a bit were the length of the film (slightly too long, yet I’m aware of the fact that in India it’s quite common, so perhaps it’s just my European perspective) and the storyteller/commentator. There’s a character that kind of explains you the plot as if you were watching a documentary or taking part in a lecture, which perhaps might help some viewers get the idea, yet to me it was unnecessary, because I prefer to understand stories in my own way. Still, if you’re looking for a production filled with harsh yet very real emotions, that’s something you might want to see.

My rating: 7/10
S.

The secret of confession. “The Priest’s Children” (“Svećenikova djeca”, 2013)

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directed by Vinko Brešan
© 2013 Continental Film. All Rights Reserved.

What to do in order to have an increasing birth rate? Financially support families with children? Make sure they have an easy access to medical centres? Build more schools and nurseries? Nah, there’s a better idea. Don Fabijan (Krešimir Mikić) is a young priest who moves to a small Croatian island in order to serve there. Their population is not that big and, as he notices, there are way more funerals than marriages or baptisms. Concerned about this situation, the priest comes up with an idea. After listening to a local newsagent’s confession, where he admits to be selling huge numbers of condoms, Don Fabijan decides to trick the island’s people. He convinces Petar (Nikša Butijer), the owner of a kiosk, to pierce all condoms that he sells. That way people would be getting pregnant, marrying each other, having more children and everyone will be happy. Unfortunately, as you might be guessing, not everything goes so smoothly and it’s just a beginning of a real natural disaster. At first I thought it’s just an incredibly silly comedy with lots of not very sophisticated jokes about sex, stereotypes about people from small villages (or islands in this case) and dramas happening in the church. And indeed, you may find all that in this film. However, the ending turns out to be quite dramatic, which I didn’t expect while watching. Except having a quite pleasant time with all those goofy texts and gags, I feel like this film is also sharing an important message, perhaps a bit hidden between all those pierced condoms and cringy jokes. In my opinion, it’s a story about playing a god, which puts a spotlight on our human helplessness. What I mean is that Don Fabijan had very good intentions and he wanted to help people, so he decided to do things that are beyond his responsibilities or skills. And we may often find ourselves at such point in life, but perhaps accepting we’re just humans can save us and others a lot of troubles. Sometimes it’s important to let some things be. Anyway, I absolutely adored the character of the priest and I found him awkwardly sweet. Plus, loved how they presented the power of a confession and how secrets may remain secrets. Quite controversial, but I take that. As you might be guessing, the church wasn’t that excited about this film’s releasing, yet Croats didn’t mind. Apparently, it was one of the most successful openings of films made in their country. Sounds like a nice recommendation, doesn’t it?

My rating: 6/10
S.

Silent savagery. “The Tribe” (“Plemya”, 2014)

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directed by Myroslav Slaboshpytskiy
© 2014 Arthouse Traffic. All Rights Reserved.

People divide into two groups – those you watch films with dubbing (or voice over) and those who prefer subtitles. Have you ever had such situation that in a group of friends or in your couple one of you had a different preference and you couldn’t decide what and how to see it? Here I am to solve the oldest cinephiles’ problem of them all – subs or dubs? I tell you – “The Tribe” by Myroslav Slaboshpytskiy. This film is entirely in Ukrainian Sign Language and isn’t translated anyhow, meaning there are no subs and there are no dubs. The idea is that you have to watch the film and try to understand it without actually knowing the language. Thrilled? I was. Except the fact that the film’s form is exceptional, the story is very clear and may hit you hard. We’re following Serhiy (Hryhoriy Fesenko), a deaf boy who joins a boarding school for deaf teenagers. In order to be accepted there, he starts doing what others do – and they do a lot. The students are rather rebellious, not afraid of violence and breaking the law, even getting involved in prostitution. At some point Serhiy has to pimp two girls who are illegal sex workers and he falls in love with one of them, which makes things even more complicated than they used to be. This film is disgustingly realistic, brutal and painful, yet I couldn’t look away. It’s ridiculous, but even though I don’t speak Ukrainian Sign Language, I was staring at the actors showing signs and I was trying so hard to understand what they mean. As if missing one sign could confuse me even more than I was already. Such an odd yet fascinating experience. Also, the fact that the characters were deaf made me feel their emotions even stronger. Not because I felt pity, not at all. They all presented themselves as resistant and powerful human beings, so no way there’s any space for pity there. However, the idea of going through all that in a complete silence made me feel extra uncomfortable. I don’t want to spoil anything, but the scene that left me with chills and probably white as a sheet is the scene in the bathroom with two women. Or rather a woman and a girl in need. You will know which scene this is. I still see it when I think of this production. Generally, it’s an unusual experience, wonderful idea and incredibly harsh story. It was the first Ukrainian film to be released in many countries around the world, which isn’t surprising because its form is universal – anyone can see it. No subs or dubs needed, or even allowed. So next time you’re struggling with making up your mind, “The Tribe” is waiting. You’re welcome.

My rating: 7/10
S.

With a face like that, she doesn’t need a name. “Gia” (1998)

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directed by Jay McInerney & Michael Cristofer
© 1998 HBO Pictures. All Rights Reserved.

Continuing the topic from the last post, I thought I could also recommend you “Gia” as it presents how loneliness may lead to the worst case scenario. Perhaps you’ve heard of Gia Carangi, an American woman who was one of the first or if not the first supermodel. This film presents her life from the moment when she was spotted and started her worldwide career. Gia was quite extravagant, rebellious and incredibly fascinating in her way of being. Thanks to her beauty and charm, she became famous in no time, catching attention of many people. Unfortunately, being in a constant spotlight and earning huge amounts of money often lead to frustration and irresponsibility. Gia started using drugs in order to perform better and kill the inner feeling of loneliness. Even though she was loved by many, she seemed to be incredibly lonely. The supermodel was also famous for her openness about sexuality and quite bold actions in order to present her views on that topic. She was considered a real icon, especially to LBTQ+ community as she was a lesbian, which is also an important part of the film. We may see her intensive and emotional relationship with Linda (Elizabeth Mitchell), a make-up artist she met during one photo session, although Linda didn’t really exist in real life. Indeed, Gia was having some relationship with a make-up artist, but what we see in the film is just loosely based on that. However, Gia couldn’t handle the way her life looks like and drugs took over her quite quickly, which is a truly tragic story. The film may bring you closer to her and perhaps make you understand the other side of fame and popularity. Also, it’s a continuation to my last post about mental health – Gia is definitely an example of an unsupported person who was left to herself with all the troubles and traumas. May we learn on our mistakes? Besides, Gia (except the young Gia who is played by Mila Kunis) is played by Angelina Jolie, who actually reminds us of her acting talent. I feel like Jolie got a label of being just a pretty woman at some point in her career. Pretty and sexy. And indeed, she is gorgeous, but if you try to forget about that for a moment and focus on her acting, you may see a lot of charisma and precision in it. The role of Gia is definitely worth noticing and admiring, so now you have several reasons to see this film. My job is done.

My rating: 7/10
S.

Not why the addiction, but why the pain. “The Wisdom of Trauma” (2021)

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directed by Zaya & Maurizio Benazzo
© 2021 Science and Nonduality. All Rights Reserved.

Two days ago we had the World Mental Health Day and I believe I have a very accurate film in order to continue that day. Today I’d like to recommend you a documentary, which, I hope, may open your eyes whether you’re a person struggling with certain issues, or you know someone from your surrounding who does. We get to know Gabor Maté, a Hungarian-Canadian physician and author, who tries to present his theory as if trauma was the root of most of our current problems. In the film we may listen to his conversations with people struggling with numerous mental difficulties, learn about their lives and consequences of lack of treatment. When we think of people with mental health problems, we often think of quite drastic cases seen in films, videos, media. However, not many of us realise that we may all be struggling with them. Having an incredibly low self-esteem, overusing alcohol or drugs, having problems managing simple everyday tasks, finding it difficult to stay relaxed in social situations, throwing yourselves into a never-ending work or the opposite – not being able to force yourselves to do anything, overeating or skipping meals, sleeping all day or not at all, seeing everything in only black and white – all those might be a consequence of your unsupported mental health. Dr. Maté tries to explain in this documentary that we all struggle with certain mental issues due to our life trauma. As he says: “Trauma is not what happens to you. Trauma is what happens inside you, as a result of what happens to you.” He believes that the problem of our society is that we’re constantly searching for ways to ease our “inside pain”, while we don’t pay enough attention to the sources of our troubles. Yes, we can start taking expensive and addictive medications. Yes, we can get so busy with our lives not to have a moment to think about our trauma. Yes, we can get wasted not to remember anything. But another day comes and the problem is still there, because once trauma happens, it stays until it’s taken care of. I was especially grateful that they presented people who’ve had some conflicts with the law and there’s no such narration as if those were bad guys – quite the opposite, they are unprotected, unsupported, confused and lost people, who deserve help and being treated as humans. It’s a documentary with a lot of food for thought and I hope you’ll find something for yourselves, especially if you’re struggling and haven’t thought of doing anything with it because “you can handle it”.

My rating: 7/10
S.