I kill you too. “The Trip” (“I onde dager”, 2021)

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directed by Tommy Wirkola
© 2021 74 Entertainment. All Rights Reserved.

You know when two people have been together for some time and at some point they realise that the relationship is no longer that exciting and passionate as it was before. And then, some couples split, some others try to work on it and some others try to kill each other in a cabin in the woods. That’s life, isn’t it? Today’s film is about Lisa and Lars (Noomi Rapace & Aksel Hennie), a couple that have been married for some time and decided to finish their relationship in a rather drastic way. I mean, they actually go to a cabin in the woods to “reconnect”, yet both wish to kill the other. However, at the place they encounter something much more dangerous than their significant other trying to murder them. But no spoilers, obviously. Before watching, I had a feeling I might like this film as I’d seen one production by Tommy Wirkola and was very much satisfied with his work. Besides, one of the main roles is played by Noomi Rapace, who’s a fascinating actress that surprises me by her ability to change on the screen so naturally. That is why I prepared myself for a pleasant projection and I wasn’t let down. For sure you need to be in a specific mood as it’s a rather black comedy, full of inappropriate jokes and slightly irrational situations, but then it tells a decent story, keeps you entertained and perhaps shocks you with a non-standard ending. Of course I was screaming at the screen each time some character was doing something absolutely idiotic, but did I have fun? Yes. Did I laugh a lot? Yes. Was the film made well? Indeed. That is why I’m recommending it to you hoping that it’ll make your movie night. And perhaps spices up your marriage.

My rating: 6.5/10
S.

I want you to see me. “Real Women Have Curves” (2002)

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directed by Patricia Cardoso
© 2002 Newmarket Films. All Rights Reserved.

I recently found this film and read that it’s “one of the most influential ones of the 2000s” or that it finally shows what being a young woman in LA was like. If so, why didn’t I hear of it before? Perhaps it’s just me, but I feel like this production has been forgotten and not many may remember it exists. That is why I’m here to remind you or let you know that it’s a film worth your time. We get to know an 18-year-old named Ana (America Ferrera), who’s growing up in LA and as a typical teenager she’s got typical teenage struggles – school, family, boys and an absolute fear of the future. The girl wishes to continue studies at a good university, but the family has a difficult financial situation. Besides, her mother would like Ana to support their business, which is a little textile factory. When Ana starts helping at the factory, she realises how unfair the world is and how difficult it will be for her to go a different path. Even though I didn’t know about this film before, I have to agree it is an important one as it shares a lot of valuable messages. First, it breaks the stereotype as if every woman needed to get married, have children, be a perfect housewife and yadda yadda yadda. It’s 21st century, they don’t, period. Second, we get to reflect on the fact that lots of people are being used for our own pleasure or profit. We see how hard those women in the factory work in order to make dresses that cost more than their whole year’s salary. Insane? Indeed. And third, Ana is a curvy girl who’s struggling with accepting her own body and working in the factory where sizes are only small doesn’t help at all. She has to stand up to all the ridiculous expectations towards women and accept herself fully. I have to say that the scene in the factory when all the ladies start comparing their bodies and having a huge laugh out of it made my day. That’s what acceptance and female empowerment is about. Perhaps I would brush up the screenplay, but in the end I think you should see the film, especially if you’re a young woman trying to follow her own path. You go girl!

My rating: 6/10
S.

You’re here because you’re dead. “Kati Kati” (2016)

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directed by Mbithi Masya
© 2016 One Fine Day Films. All Rights Reserved.

I’ve just realised that I haven’t written a post about this film although I saw it several months ago. And I’m angry with myself that I haven’t shared about it sooner, because it’s a real gem of Kenyan cinema. I saw this production on an African film festival and I remember how shocked I was, because I wouldn’t expect Kenyans to work on such a complex and rather controversial topic in their country. Not because I don’t think they are capable of that, absolutely no, quite the opposite, but today’s film might not be appreciated by religious communities and, as we know, Kenya is a very religious country. Yet, they’ve done it and they’ve done it well. The film starts with Kaleche (Nyokabi Gethaiga), a young woman who wakes up in the middle of nowhere. She spots and goes to a lodge, where they tell her that she’s actually dead. The lodge is called Kati Kati and from now on Kaleche has to stay there. The woman is experiencing afterlife in a quite unusual way, which is why I was surprised to see such production coming from Kenya. She realises that all the people in Kati Kati are still struggling with their previous life and what they’ve left behind. Everything you’ll see in this film is deeply philosophical and I was honestly curious how the story would end. Obviously, no spoilers, but the ending was magnificent, in my opinion, with tons of thought-provoking messages. Even though I saw the film many months ago, it’s still stuck in my mind and I’d love to see more of such. Especially since it’s coming from Kenya, a country whose cinema isn’t that popular worldwide. I even said to myself that if this film had been made in the USA, it’d be a huge success. That is why I love discovering the cinema world as I believe there are countless productions worth seeing about which we might never hear of if we don’t put any effort in finding them. I really hope you’ll dedicate an evening to “Kati Kati” and maybe become a Kenyan cinema fan. A bit like me.

My rating: 7/10
S.

The meaning of life? Life is meaning. “Balcony Movie” (“Film balkonowy”, 2021)

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directed by Paweł Łoziński
© 2021 HBO Europe. All Rights Reserved.

I love this film. I just simply l-o-v-e this film. When I heard of it for the first time, I already knew I’d love it. Why? Because it’s unusual, it’s creative and it sounds like a rollercoaster of emotions – basically three things I need to appreciate a film. Today I’m taking you to Poland, to Warsaw and to one balcony. The director decided to put a video camera on his flat’s balcony and record passers-by. However, he didn’t just want to stalk people (or did he?). Instead, he was saying “hello” to them and asking questions. What would you do if some strange guy on the balcony started asking you questions about the meaning of life? Or not only, maybe he wants to know what you’re reading. Or where you’re currently going to. Would you stop for a chat? You have to see yourselves the results of this little experiment, I’m not spoiling anything. But I have to admit that I was absolutely engaged in the documentary from the very beginning. At first I was amazed by the idea, because it’s so simple yet genius. And incredibly convenient, if you ask me. You’re just sitting on the balcony in your sleepers and baggy clothes, drinking coffee from your favourite cup and the film is making itself. Then, I was laughing like crazy seeing the reactions of people, their confused faces, especially when they weren’t sure about talking to Paweł, but they still approached the fence where the microphone was. Typical body-mind incoherence. But then I focused on the questions and answers. Paweł didn’t need to ask anything difficult to start a rather deep or uncomfortable conversation. Some people either needed to share their problems or felt like there’s nothing lighter to be said, so in few seconds we were going from a cheerful “good morning” to having a broken heart. But one thing I’ve noticed in most of the passers-by was that they liked being asked something. They enjoyed that someone noticed them and wanted to know how they were doing. Or even a simple “good morning” was making their day. So, now you see what I mean by that emotional rollercoaster? On the one hand, I had so much fun watching this documentary and laughed at loud quite often, but on the other, we’re living in such a closed world, separated from each other, not noticing others and just doing what we’re supposed to be doing. No questions asked. And maybe sometimes we need such guy on the balcony to ask us about the meaning of life? Or just exchange a good word, you know?

My rating: 8/10
S.

Close your eyes and focus on the sound of my voice. “Forty Winks” (2022)

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directed by William Atticus Parker
© 2022 River Styx Productions. All Rights Reserved.

It happens sometimes that after writing a recommendation about some film, its director or a member of the cast contacts me to say “thank you” or just appreciate my words. But it’s not common for me to be contacted by a director before even seeing their work. Such situation happened to me this week and I’m glad it did. I had a chance to see “Forty Winks”, which is Will Parker’s directorial feature film debut. I had no idea what to expect and I didn’t even try to check any comments on it as I believe it’s way more interesting to discover certain films on our own. If I had to define this production using only three words, I’d say “fascinating absurd spectacle”. We get to know Fabio (Justin Marcel McManus), a hypnotist who’s not doing so well, both professionally and in personal life. As viewers, we’re trying to understand his world, yet the main character doesn’t make it easy. As I feel it, Fabio has a very rich personality and is complex, but at the same time he’s not that obvious, which may leave us wondering whether he’s anything at all. Perhaps that’s just my opinion, but every single person in that film was somehow more attractive to me than Fabio. And to be honest, I consider it a huge advantage, because the absurd atmosphere of the story got even stronger thanks to that. Another thing that I’ve noticed (and I know it was done on purpose) was the diversity in sound quality. At first I thought that perhaps it’s just a mistake, but the more often that quality was changing, the more enjoyable it was for me. Enjoyable, because that little magic trick confuses the viewer even more and gives slight anxiety vibes. Besides, the camerawork and editing are not usual for modern cinema, which made me believe I was in the theatre, not staring at the screen. Especially since the actors were also acting in a rather theatrical way. It’s difficult for me to write much about the plot as I feel that the more I write, the less exciting your personal experience will be. It’s not a typical story from a Netflix romcom, it just cannot be shared that easily. I had a very pleasant chat with Will Parker, the director, who explained certain aspects to me, such as for example keeping the film black and white only (and you know how much sceptical I am about it in general). I believe that it’s one of those productions that may be interpreted in numerous ways and yet all of them will be somehow right and understandable. Thank you so much for the conversation and sharing your work with me, Will. I hope that thanks to my post more and more people will decide to see “Forty Winks”. All you need to do, my dear readers, is to see the first scene (marvellous!) and it’ll become clear why the film is worth your time.

My rating: 7.5/10
S.

Fathers live for the promises that they make. “Ayla: The Daughter of War” (2017)

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directed by Can Ulkay
© 2017 Warner Bros. All Rights Reserved.

Recently one of my friends has recommended me to see today’s film and since it’s a Turkish production, I knew I had to keep it for a right day. Even though Turkish dramas are often sappy, perhaps slightly cringy, and we’re aware of what might happen next, they always hit us. Or at least me. So yes, I cried at the end angry with myself I let them do this to me again. But if you’re sensitive about real life dramas, then you may need tissues as well, my dear. The film tells the story of Sergeant Süleyman (İsmail Hacıoğlu), a Turkish man sent to South Korea in the 50s in order to support the country in the war with North Korea. During one of the battles he finds a little girl (Kim Seol), whose parents were murdered. The man decides to take care of the child and gives her a temporary name Ayla (which means “moonlight”), as they have no idea what’s her real one. At first Sergeant just wishes to find some guardian for the girl and continue his work, but they create a very strong bond between each other and it’s difficult for them to separate. I could tell you what happens next (and trust me, I’d love to!), but I also want you to discover it on your own. Personally, I have a difficult relationship with Turkish cinema as their screenplays remind me of all those cheap soap operas where anything can happen (including aliens invasion), but technically they are so good… I mean SO good, and I’m always thrilled about the camerawork and their choice of shooting. Plus, it really hits me when a film is based on a true story, and so is this one. I was still pretty strong watching the fictional part, but when they showed a footage from the real event, I was done. Waterfall on my cheeks. Good job, Turkish cinema. Anyway, if you enjoy historical/war films and you’re also a slightly sensitive creature, you will like this one. There’s also a documentary about Süleyman and Ayla called “Ayla, My Korean Daughter”, but I wouldn’t recommend watching it first (you know, spoilers). And also, the film was the Turkish entry for Oscars in 2018, but wasn’t nominated. And since the Academy members have a questionable taste, you better see yourself.

My rating: 7/10
S.

If the world is round, why is a frozen lake flat? “Don’t Look Now” (1973)

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directed by Nicolas Roeg
© 1973 British Lion Films. All Rights Reserved.

Today I’d like to recommend a horror that is not really scary, but it’s a film that film freaks should watch at least once. Actually, it’s considered as a horror, but I would say it’s more of a thriller/drama, so in case you’re still a bit freaked out, no worries, you can see it. Maybe it’s not family friendly, but sensitive-adult-friendly for sure. In this one we get to know Laura and John (Julie Christie & Donald Sutherland), a married couple who have recently lost their little daughter. The man gets an offer to restore a church in Venice and he goes there together with his wife. Later they meet two strange women, one of whom is some kind of medium as she seems to be seeing dead people. And, as you might be guessing, she sees Christine, the couple’s recently deceased child. What happens next is for you to see, but I think you get the idea and how it’s going to continue. Honestly speaking, having seen lots of horrors I can easily say this one was rather boring, but I’m referring only to the plot. However, what kept me stare at the screen was the editing and transitions. I mean, mamma mia, you don’t often see such creative transitions in modern productions. Obviously, you may say that some moments are slightly cringy because they are outdated and that’s the charm of old cinema, but try to be objective and judge the creativity. I’m a huge fan of smart editing and for me the ideas used in this film were wonderful. Perhaps I was so amazed by them that I kind of got lost in the story and at some point didn’t even enjoy it that much. Perhaps that’s why I’m not the biggest fan of the story, yet because of that editing I have to say a big “yes” to this production. Besides, it’s a slightly controversial one since they added a sex scene that was a bit too explicit for the 70s cinema. Back then it was a big deal, now it’s a classic that film studies students learn about. So in case you think something in inappropriate now, wait some years and think again.

My rating: 6/10
S.

We were the unspoken, hidden people. “Circus of Books” (2019)

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directed by Rachel Mason
© 2019 Netflix. All Rights Reserved.

Do you remember when you were a child and you asked your parents about their jobs? And those who had pretty easy or obvious professions were saying it without any problem, but those who were doing rather “complicated” things always came up with a story to tell. Mommy is just doing some paper work, you know? And daddy is just driving a car from one place to another. And somehow that was enough for us. A similar thing happened to one family where the children were sure that their parents ran a bookshop. It was even called “Circus of Books”, which sounds adorable, right? However, each time the children were visiting their parents’ workplace, they were asked not to look at the shelves. Later, those children find out that their religious parents hadn’t been running an ordinary bookshop, because they’d been selling gay pornography. The documentary I’m recommending to you today was directed by the couple’s daughter. Karen and Barry Mason decided to run such shop in order to provide for their 5-person family, which wasn’t that easy. What I loved about their way of being is that they seemed unbothered about their job. I mean, they weren’t ashamed of what they were doing, just preferred to keep it a secret not to cause any troubles to the children and perhaps not to be judged by the religious community. Other than that, they acted as if they were selling something typical, something that every person might need like water or toilet paper. Indeed, at some point in the film we get to see that for Karen it was a bit of personal struggle as she’s a very religious person, yet she continued doing what she’s doing believing that there’s space for everything in her life, which I personally admire. We often hear about young people worried to come out in front of their religious parents, while Karen and Barry are an example of people who have their own values and beliefs, yet are open to accept others who are different. Thanks to the film we may also reflect on the situation of LGBT+ people, especially homosexual men living in the 70s-90s, for whom that small bookshop was one of few places they could be themselves. So it wasn’t just a shop with porn, it was a place where people should build up their identity and feel comfortable being who they were. I found this documentary adorable and I’m happy to be sharing it, especially if there are religious people among my readers for whom their religion and their interest in sexual diversity are not yet in peace.

My rating: 7/10
S.

Is it possible to really understand someone else’s delusion? “Three Christs” (2017)

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directed by Jon Avnet
© 2017 IFC Films. All Rights Reserved.

Imagine that one day you meet Jesus Christ. And then you go to another room and meet him again. And… then you meet him one more time. That’s what happened to Milton Rokeach, a Polish-American social psychologist, who working at Ypsilanti State Hospital met three Jesus Christs. Or to be precise, three patients – Clyde Benson, Joseph Cassel and Leon Gabor. All three men were suffering from paranoid schizophrenia and claimed they were the Christ. All three of them claimed they were THE one and only Jesus Christ. And what could have been done in such case, you might ask? Well, yes, of course Rokeach put them all together and started group sessions. Not everyday you’re lucky enough to meet three Christs, right? And this is exactly what today’s film is based on. In the role of the doctor we may see Richard Gere, and then Bradley Whitford, Peter Dinklage and Walton Goggins as the patients. Even though I’m recommending you this film, I have to say it now – it’s a bit wasted idea. I mean, the story – incredibly interesting, definitely worth writing a script. The cast – magnificent. And then the final production is rather average. I’m not surprised it’s not that popular, because I had several “oh no, why?” moments during it. I’m sorry to be harsh, maybe it’s because of lack of video material, but the editing was tragic. I was deeply suffering at every irrational cut that happened in the film. Then the script – could have been written with a bit more diverse pace, because sometimes I needed to yawn once or twice. Still, in the end I loved the performance of all the three “Christs” and I think that’s the biggest advantage of this production. And even though I’ve found a lot of good comments on Peter Dinklage’s performance, with which I agree, to me the absolute surprise was Bradley Whitford. I loved every single move, gesture, face expression and way of saying his lines. There was something hypnotising about his character and you can tell he, as an actor, knows how to do it well. And in the end, it’s an interesting story to learn about. So have a cup of tea and enjoy the meeting with Jesus, Jesus and Jesus.

My rating: 6/10
S.

Say something nice or keep searching. “The Windshield Wiper” (2021)

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directed by Alberto Mielgo
© 2021 The Animation Showcase. All Rights Reserved.

Firstly, I’m sorry you had to wait a few days for my post after the Oscars, but I guess I needed some peaceful time to reflect on that night. I didn’t watch the ceremony, but somehow I couldn’t stop myself from following the winners on social media. And unlike most influencers and people doing something on the Internet, I wouldn’t like to focus on that obvious incident that took place during the event. I’d definitely prefer to talk about the wonderful films and people who got appreciated. There are very few Oscars that I don’t agree with, so generally I think this year’s winners were on point. Perhaps I feel like “West Side Story” should have been noticed a bit more, but in the end I’m satisfied. Especially about “CODA” winning the main Oscar, as it’s a beautiful story reminding us about the diversity of people and how important inclusiveness is. Bravo! Today, however, I’d like to recommend you a short animation, which won an Oscar those few nights before. It starts with a man in a café asking a rather difficult question: “What is love?”. And for the rest of the film we don’t really get the answer, but a series of visual descriptions. We can reflect on the meaning of relationships, affection, dedication or love generally, as we see and practice it now, in the modern times. Even though the film is rather intimate, I felt so empty watching it. As if I had no emotions to share, which doesn’t mean I didn’t appreciate what I saw. It’s a bit harsh production pointing out that love is something mystical and often unobtainable for most of us. Perhaps we may consider some feelings or states as love or being in love, but in real they are nothing like it. So even though I felt slightly overwhelmed by this film, I think it’s great someone has made it. Perhaps we need more of such to realise certain things in our lives. Plus, I really liked the animation style, so it was depressing for my soul, yet pleasant for my eyes. If you feel encouraged by this eccentric recommendation, then I’m glad.

My rating: 7/10
S.