FESTIWAL FRANKOFONII (FRANCOPHONIE FESTIVAL)
في عينيّا / REGARDE-MOI (LOOK AT ME)
Walked out. About taking care of an autistic child. I dislike kids and the autistic one screamed even at the age of 7.
Tuesday 24 March 2020
Wednesday 18 March 2020
THE INVISIBLE MAN AT IMAX
Watchable. No Imax needed but a few jump scares result from top notch sound effects so the Atmos version will be best. Story-wise, it's a thriller about a psycho stalker which has adopted one sci-fi element (a very plausible invention) and some taken from horrors, like jump scares or people hurled around by an invisible force. A few surprises (I'm using this word on purpose) are counterbalanced by some fairly predictable solutions. I only didn't know till the end if the perpetrator would be killed or it'd be set for a sequel. Filmed in NSW, Australia. The views of San Francisco must have been added in post-production.
The new, uncomfortable plastic seats at the Warsaw Imax are a bit comfier than the ones at Arkadia but still make it harder (literally) to get through the whole film.
THE BURNT ORANGE HERESY
Walked out. Overtalked.
Watchable. No Imax needed but a few jump scares result from top notch sound effects so the Atmos version will be best. Story-wise, it's a thriller about a psycho stalker which has adopted one sci-fi element (a very plausible invention) and some taken from horrors, like jump scares or people hurled around by an invisible force. A few surprises (I'm using this word on purpose) are counterbalanced by some fairly predictable solutions. I only didn't know till the end if the perpetrator would be killed or it'd be set for a sequel. Filmed in NSW, Australia. The views of San Francisco must have been added in post-production.
The new, uncomfortable plastic seats at the Warsaw Imax are a bit comfier than the ones at Arkadia but still make it harder (literally) to get through the whole film.
THE BURNT ORANGE HERESY
Walked out. Overtalked.
Monday 16 March 2020
While the COVID-19 virus has forced us to stay home, I'm posting what I saw before the national quarantine. None of it is urgent now but I do hope the movies will be on again or will premiere - depending on the title - when cinemas are allowed to re-open.
BAD BOY
Watchable. Patryk Vega's craftsmanship makes it just fine. The movie makes use of the best solutions of his earlier productions which works up to a point. The thing is it gives you a déjà vu feeling. Skillfully directed, especially the air view of an arrest. Good lines, e.g. when the arrested guy explains how he was able to resist for so long: "otoczyłem was" ("I surrounded you"). The movie's extremely brutal at times. The story is from rags to riches. No ending but I guess a sequel is coming.
IL TRADITORE (THE TRAITOR)
Watchable when seen again. I managed to tie up my loose ends after the first viewing - this movie requires attention to each word and picture. Still engaging, this time if felt slower and even pensive at times. And definitely less glamorous. I also think of Tommaso Buscetta's motivation differently - he chose the lowest cost of dealing with his enemies. Incarceration was the most effective revenge and protection at the same time.
Turns out director Marco Bellocchio is over 80 now. I therefore renounce what I previously said that directors should retire before 70. Not all.
SALA SAMOBOJCOW. HEJTER (SUICIDE ROOM: HATER)
Recommended. A gripping thriller, emotional at times, plausible. The flower scene was so absurd - on purpose - I burst out laughing. Maciej Musiałowski and Maciej Stuhr are superb in the roles of the hater and the politician respectively.The climax first seemed over the top but then I remembered events not only from Poland but also other countries. Definitely exportable stuff. The movie was scripted by Pacewicz of "Boże Ciało" ("Corpus Christi") fame, directed by Jan Komasa - the way he depicts men, again, I had the impression he was gay.
They finished shooting on 23rd December 2018. Polish politician, Adamowicz, was assassinated on 13th January 2019.
BAD BOY
Watchable. Patryk Vega's craftsmanship makes it just fine. The movie makes use of the best solutions of his earlier productions which works up to a point. The thing is it gives you a déjà vu feeling. Skillfully directed, especially the air view of an arrest. Good lines, e.g. when the arrested guy explains how he was able to resist for so long: "otoczyłem was" ("I surrounded you"). The movie's extremely brutal at times. The story is from rags to riches. No ending but I guess a sequel is coming.
IL TRADITORE (THE TRAITOR)
Watchable when seen again. I managed to tie up my loose ends after the first viewing - this movie requires attention to each word and picture. Still engaging, this time if felt slower and even pensive at times. And definitely less glamorous. I also think of Tommaso Buscetta's motivation differently - he chose the lowest cost of dealing with his enemies. Incarceration was the most effective revenge and protection at the same time.
Turns out director Marco Bellocchio is over 80 now. I therefore renounce what I previously said that directors should retire before 70. Not all.
SALA SAMOBOJCOW. HEJTER (SUICIDE ROOM: HATER)
Recommended. A gripping thriller, emotional at times, plausible. The flower scene was so absurd - on purpose - I burst out laughing. Maciej Musiałowski and Maciej Stuhr are superb in the roles of the hater and the politician respectively.The climax first seemed over the top but then I remembered events not only from Poland but also other countries. Definitely exportable stuff. The movie was scripted by Pacewicz of "Boże Ciało" ("Corpus Christi") fame, directed by Jan Komasa - the way he depicts men, again, I had the impression he was gay.
They finished shooting on 23rd December 2018. Polish politician, Adamowicz, was assassinated on 13th January 2019.
Monday 9 March 2020
ZIEJA (TRUTH MAKES FREE - ZIEJA)
Watchable. The movie is quite religious, the agent trying to extract the information from the priest is but a pretext. It features some smart sermons - shortened but used verbatim. However, Andrzej Seweryn as priest Zieja looks lecherous rather than holy. Funnily, the Vatican Museums paintings show muscled naked men. The extent of male nudity gives them a gay feeling. I'm quite certain that wasn't the director's intention. The lead character is righteous and sensible. The depicted conversations he held with Kuroń are authentic, e.g. "if you have God in yourself, you don't need religion". Talking to his imaginary friend, he's aware that you become "old when you realize you haven't always been right and you're not needed any more". He's said to have rescued 23 wounded in combat during the war, he told soldiers not to shoot in which he resembles the religious hero of "Hacksaw Ridge". Visually-wise, cigarette smoke shifts into a picture of World War 2 where the scene soon becomes clouded in the smoke from explosions. Torn body parts are depicted but it's all grey which spares you from the shock. Unfortunately, apart from the reminiscences, everything else is grey too which makes the movie lackluster. There's also no action or tension. The main message is: "God is one for everyone." Dull music from Fonoteka Sonoria doesn't help. The beginning and ending is a frame - the final knocking by an unknown person leaves a field for interpretation.
Director Robert Gliński thinks Andrzej Seweryn cast as Zieja looks just like the original. I've since looked up his pictures and dare to disagree. The director decided that since Zieja was a virtually saint hero, an anti-hero was needed. So he pitted the restrained "saint" versus such a "rozbuchany kartofel" ("frisky potato") as Zamachowski so that the interaction sparkles.
The script was 180 pages long so he had to decide which fragments to choose but also added extra scenes, ending up with 3 hours so then had to remove some material. The selection criterion was: what's contemporary stays.
The beginning and ending is a frame - the final knocking on the door by an unknown person meant to show how history repeats itself.
There had been documentaries about Zieja but no actors' movie before.
The priest spread pacifism. In effect one of the Warsaw Rising scout insurgents went for the Arsenal action without a pistol. Zieja was also a precursor of feminism - he wanted to introduce women into the parish council. KOR (the Workers' Defence Committee) had two opponents active within the organization: Michnik, Macierewicz. They argued a lot and it was Zieja who kept them in peace for 4 years.
On the balcony, Zieja talks to Kuroń whose identity is not explained in the movie. The conversations with Kuroń are authentic. The director has been to Kuroń's flat in Żoliborz.
The dog biting the SB (the Security Service) man was an authentic case.
Robert Gliński found it hard to implement the script due to resistance from Catholics in the film circles though the Church supported it. It was his colleagues who tried to block the movie.
WINTERLAND
Watchable. The snowboard documentary comprises of virtually the same views and rock music all the time. What drew my attention was frostbite on the sportspeople's faces as a downside to the hobby but, on the other hand, the 12 year old was superb and the dangerous falls from extremely steep slopes provided a bit of adrenaline for the viewer.
ROADLESS
Watchable. Another snowboard flick. I quickly spotted frostbite on their faces and hands again. This film offers more varied views and music. Talks also about getting pro.
365 DNI (365 DAYS)
Walked out. Neither the mafia opening, nor the subsequent corporate meeting are plausible. Wooden acting makes it even worse. In the first sex scene we see disgust on Massimo's face. Later, with the 'right girl', they both look at each other with hatred and disdain. Both leads act gangsters instead of lovers. And he treats her like a perv. It's basically a "Fifty Shades of Grey" chav way, especially in the protagonists' language. In the US, movie producers hire dialect coaches. In Poland, they didn't even check English grammar!
The script writer barely managed to get to the premiere of the movie, the producers didn't invite him. When he did see the film, he realised it wasn't what he had written. He could see low budget. He wrote the whole in Polish and someone else translated the dialogues into incorrect English.
Watchable. The movie is quite religious, the agent trying to extract the information from the priest is but a pretext. It features some smart sermons - shortened but used verbatim. However, Andrzej Seweryn as priest Zieja looks lecherous rather than holy. Funnily, the Vatican Museums paintings show muscled naked men. The extent of male nudity gives them a gay feeling. I'm quite certain that wasn't the director's intention. The lead character is righteous and sensible. The depicted conversations he held with Kuroń are authentic, e.g. "if you have God in yourself, you don't need religion". Talking to his imaginary friend, he's aware that you become "old when you realize you haven't always been right and you're not needed any more". He's said to have rescued 23 wounded in combat during the war, he told soldiers not to shoot in which he resembles the religious hero of "Hacksaw Ridge". Visually-wise, cigarette smoke shifts into a picture of World War 2 where the scene soon becomes clouded in the smoke from explosions. Torn body parts are depicted but it's all grey which spares you from the shock. Unfortunately, apart from the reminiscences, everything else is grey too which makes the movie lackluster. There's also no action or tension. The main message is: "God is one for everyone." Dull music from Fonoteka Sonoria doesn't help. The beginning and ending is a frame - the final knocking by an unknown person leaves a field for interpretation.
Director Robert Gliński thinks Andrzej Seweryn cast as Zieja looks just like the original. I've since looked up his pictures and dare to disagree. The director decided that since Zieja was a virtually saint hero, an anti-hero was needed. So he pitted the restrained "saint" versus such a "rozbuchany kartofel" ("frisky potato") as Zamachowski so that the interaction sparkles.
The script was 180 pages long so he had to decide which fragments to choose but also added extra scenes, ending up with 3 hours so then had to remove some material. The selection criterion was: what's contemporary stays.
The beginning and ending is a frame - the final knocking on the door by an unknown person meant to show how history repeats itself.
There had been documentaries about Zieja but no actors' movie before.
The priest spread pacifism. In effect one of the Warsaw Rising scout insurgents went for the Arsenal action without a pistol. Zieja was also a precursor of feminism - he wanted to introduce women into the parish council. KOR (the Workers' Defence Committee) had two opponents active within the organization: Michnik, Macierewicz. They argued a lot and it was Zieja who kept them in peace for 4 years.
On the balcony, Zieja talks to Kuroń whose identity is not explained in the movie. The conversations with Kuroń are authentic. The director has been to Kuroń's flat in Żoliborz.
The dog biting the SB (the Security Service) man was an authentic case.
Robert Gliński found it hard to implement the script due to resistance from Catholics in the film circles though the Church supported it. It was his colleagues who tried to block the movie.
WINTERLAND
Watchable. The snowboard documentary comprises of virtually the same views and rock music all the time. What drew my attention was frostbite on the sportspeople's faces as a downside to the hobby but, on the other hand, the 12 year old was superb and the dangerous falls from extremely steep slopes provided a bit of adrenaline for the viewer.
ROADLESS
Watchable. Another snowboard flick. I quickly spotted frostbite on their faces and hands again. This film offers more varied views and music. Talks also about getting pro.
365 DNI (365 DAYS)
Walked out. Neither the mafia opening, nor the subsequent corporate meeting are plausible. Wooden acting makes it even worse. In the first sex scene we see disgust on Massimo's face. Later, with the 'right girl', they both look at each other with hatred and disdain. Both leads act gangsters instead of lovers. And he treats her like a perv. It's basically a "Fifty Shades of Grey" chav way, especially in the protagonists' language. In the US, movie producers hire dialect coaches. In Poland, they didn't even check English grammar!
The script writer barely managed to get to the premiere of the movie, the producers didn't invite him. When he did see the film, he realised it wasn't what he had written. He could see low budget. He wrote the whole in Polish and someone else translated the dialogues into incorrect English.
Monday 2 March 2020
ZENEK
Recommended. Little short of phenomenal. It's not a typical biography - Zenek's life's different than what we know from other musicians' biopics. The movie was "inspired by" Zenon Martyniuk's life and is not a documentary but a very honest biography where the director doesn't shy away from showing the future star step into actual shit in the street on his way to a gig. It depicts village life in Podlasie since but mostly in 1985 - both the rural region and the 80s are meticulously recreated not only in objects but also in behaviour. The social-cultural background is the highlight of this production - it clarifies who he is and explains the whole phenomenon around him. The social-cultural setting manifests itself also in the taste in clothes - chic disco polo way, including the singer's house decor, the choice of wife and her fashion style as well. Other than that, he first sang covers, including Limahl's, whose posters he had in his bedroom, like virtually every Polish teenager at the time. The whole film is fantastically acted, but especially by Jakub Zając, the talented young actor enacting the star's youth. The film's shot in an interesting form - with mock-documentary utterances of people from his circle which smoothly transport you to a different year. The finale's wonderful.
Recommended. Little short of phenomenal. It's not a typical biography - Zenek's life's different than what we know from other musicians' biopics. The movie was "inspired by" Zenon Martyniuk's life and is not a documentary but a very honest biography where the director doesn't shy away from showing the future star step into actual shit in the street on his way to a gig. It depicts village life in Podlasie since but mostly in 1985 - both the rural region and the 80s are meticulously recreated not only in objects but also in behaviour. The social-cultural background is the highlight of this production - it clarifies who he is and explains the whole phenomenon around him. The social-cultural setting manifests itself also in the taste in clothes - chic disco polo way, including the singer's house decor, the choice of wife and her fashion style as well. Other than that, he first sang covers, including Limahl's, whose posters he had in his bedroom, like virtually every Polish teenager at the time. The whole film is fantastically acted, but especially by Jakub Zając, the talented young actor enacting the star's youth. The film's shot in an interesting form - with mock-documentary utterances of people from his circle which smoothly transport you to a different year. The finale's wonderful.
Sunday 1 March 2020
EMMA.
Recommended. A most delightful period piece: elaborate, embroidered and crocheted costumes, splendid hats, stunning hairstyles, impeccable set design - lavish, historic interiors, speckless outdoors and the combination of these elements, e.g. Emma standing in a white dress with embroidered flowering plants right under a lilac in blossom, are pure perfection. Directed by Autumn de Wilde - a photographer known for portraiture work. The adaptation of immortal Jane Austen's is all stately which doesn't hinder irony but also surprises with touching moments on occasions. Wonderfully acted, especially by Anna Taylor-Joy as Emma, Mia Goth as Harriet, Josh O'Connor as Elton. Can be seen either as a warning that even in a perfect world feelings can reduce you to tears or, better, as a happy-go-lucky tale about carefree lives. The music comprises of: traditional, Mozart, Haydn, some Beethoven.
The dialogues are so rich in advanced level personality adjectives I should use the film in class.
Recommended. A most delightful period piece: elaborate, embroidered and crocheted costumes, splendid hats, stunning hairstyles, impeccable set design - lavish, historic interiors, speckless outdoors and the combination of these elements, e.g. Emma standing in a white dress with embroidered flowering plants right under a lilac in blossom, are pure perfection. Directed by Autumn de Wilde - a photographer known for portraiture work. The adaptation of immortal Jane Austen's is all stately which doesn't hinder irony but also surprises with touching moments on occasions. Wonderfully acted, especially by Anna Taylor-Joy as Emma, Mia Goth as Harriet, Josh O'Connor as Elton. Can be seen either as a warning that even in a perfect world feelings can reduce you to tears or, better, as a happy-go-lucky tale about carefree lives. The music comprises of: traditional, Mozart, Haydn, some Beethoven.
The dialogues are so rich in advanced level personality adjectives I should use the film in class.
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