CHICKENHARE AND THE HAMSTER OF DARKNESS

Watchable. This Belgian-French co-production, dubbed into Polish, but with an excellent translation by Bartek Fukiet, isn't as ridiculous as the title implies. The protagonist is cute, his sidekicks turn out to have been as troubled by their identities as he is and the tale teaches children we're all unique for a reason. A run-of-the-mill plot with a quest and a magical object as well as Chickenhare's motivation which drives the story detract from the fun. Brilliant lines and twists of action, with the very well written Lapin are marred by some Balkan-style music in the action scenes. Animation-wise, cracked soil looks realistic. Chickenhare's outfit resembles Indiana Jones's. His evil plotting uncle is as dangerous as Hannibal Lecter and makes a Star Wars joke. Good fun as long as you haven't seen too many cartoons with the same storyline.

KAZDY WIE LEPIEJ (EVERYONE KNOWS BETTER)

Walked out. A comedy cannot drag and this one does. Snail pace, poor acting and the protagonists speaking to the camera directly reality show style mean lame directing by Michał Rogalski. The weird choice of actors means the casting director was equally lame. Writer Krzysztof Rak didn't make much effort either. All gags are awfully straightforward.

FREDDIE MERCURY - THE UNTOLD STORY

Watchable. It's informative: you see where he spent his childhood, you learn he drew a lot at school and, having lived liberally, contracted AIDS in NYC. His lifestyle was typical of homosexuals (he was bisexual but with a stronger attraction to his sex) hence his costume styles. And, even though, he's been immensely popular and the people who knew him dub him a genius, the film doesn't explain where his genius lay or what set him apart. He's presented as a great social mixer - once he became his true self: gay and a performer. The documentary is merely a summary of his lifestyle.

Seen courtesy of Canal +.

FIRE OF LOVE

Recommended. Volcanoes of both types: red (flowing lava of up to 1200 degrees Celsius) and grey ones (the killer ones, the fumes and landslides whose direction and range are harder to predict, like Mt. Unzen, Japan in 1991 or Nevado del Ruiz, Colombia in 1985) up close. Some eruptions, like the Krakatoa one in 1893 were seen as far as Norway, as evident in Munch's painting "Scream" - the red sunset was an effect of that famous phenomenon. The couple of volcanologists forms the axis of the story but the world's powerful tectonic shifts manifested on the surface are the true protagonist. Geological facts and, as if incidental, insight into living your passion. And dying it. I was slightly trembling on the way home.

KRYPTONIM: POLSKA (CODE WORLD POLAND)

Watchable. A tragicomedy inspired by several true, widely discussed in Poland, events. Some gags are brilliant, e.g. "Niech spoczywa w pokoju" ("Let him rest in the room" instead of "w spokoju" meaning "in peace") or when the priest says: "Ręce do góry" ("Hands up!") and they perform the Roman salute. The protagonist faking to be a rightist extremist while in reality being liberal doesn't convince. Music is great when they stomp. Polish songs, from music banks, are a minus. "Dzień gorącego lata" is the only actually good one. But there is suspense and little twists of action. Tear-jerking moments unfortunately too. 

ZOLZA

Watchable. Scripted by and based on Ilona Łepkowska's book "Idealna rodzina". Małgorzata Kożuchowska produced the movie, apart from playing the leading role. The film has been translated into English by a Pole and a native. It depicts a standard go-getting businesswoman too busy to mind her offspring and too PR-oriented to actually care about anyone else. When her PA says she'll buy food for stray cats, the bitch responds: "A, to już za swoje" ("Ah, that'll be on you"). The lines are snappy but her behaviour is too scary to amuse. At least till she's driven into a mental hospital. Generally the plot follows the pattern: first the bitch image is being built, next, predictably, the image melts down with her warm heart. Małgorzata Kożuchowska physically resembles Ilona Łepkowska.

Funny it's written and meant to be semi-autobiographical by the woman who, when I got upset by a noisy baby in a meeting, got involved: "Dzieci są częścią naszego świata." ("Children are part of our world.")

POLISH OSCAR CANDIDATE

Tadeusz Łysiak previously nominated for "Sukienka" ("The Dress") was in the selection committee. "Io" ("Eo") was chosen unanimously since it's about people's cruelty to animals and people and it represents European values. The movie's been sold to 20 countries. It has a good distributor in the US, the one responsible for "Drive My Car" last year. The selection makes sense also in the wake of its success in Cannes. Skolimowski was passing by and was called from the PISF (Polish Film Institute) balcony to hear the news. The director says "the film is different than any of his movies before" because he and Ewa (Puszczyńska - the producer) care about animals. PISF had provided the main funding. There were Covid cases in the crew while shooting so it wasn't easy. 

WROBIONY (TITANIUM WHITE)

 

Watchable. At the beginning, for a longer time, I couldn't put the pieces together, you just don't know who is who and why days and times are given - in fact I'd need to see the whole thing again to find out if the events were presented in a chronological order. The thriller is engaging after a while, when you meet the Polish scholar and follow his adventure consistently. Some characters, especially Sylvia appear and disappear for no logical reason. Where the film comes unstuck is editing (by Jarosław Kamiński) The last scene is highly ambiguous. Is that an accidental killing by the protagonist? Purposeful of the protagonist? Or his analysis of the painting?

FESTIWAL POLSKICH FILMOW FABULARNYCH (POLISH FILM FESTIVAL IN GDYNIA)

The 47th festival ran from 12 to 17 September 2022. There were more films in the main competition because otherwise some would be presented in international festivals but not theirs. This time the festival took place in Gdynia only, the number of screens rose from 8 to 13, some events were still online so as not to cut off the majority which had chosen the online version twice before. 30 short films were in the competition, including "Followers. Odpalaj lajwa" ("Followers. Live Shooting") and "Victoria", out of 130 submitted. They formed 6 longer sets divided into film schools, Studio Munka (Munk Studio) and independent ones. Actress Maria Dębska was in the jury. All the 7 PISF (Polish Film Institute) micro-budget films that were submitted got in - that jury included Allan Starski. 20 movies appeared in the main competition, including "Cicha Ziemia" ("Silent Land"), Głupcy" ("Fools"), "Infinite Storm", "Io" ("Eo"), "Silent Twins", "Orlęta. Grodno '39" ("Orleta") and "Orzeł. Ostatni patrol" ("Below the Surface") which opened the festival. The 8-people jury consisted of representatives of a wide range of film professions - all the other juries were formed similarly. Niebyły Festiwal (Missing Polish Film Festival) comprised of films from 1882-83, when the festival hadn't taken place, with a competition with a brick to win. 5 children's films from recent years were also in a competition. Polonica (co-productions) comprised of 6 films, including "Носоріг" ("Rhino") and "After Blue" with a surprise role of Agata Buzek. "Io" ("Eo") had an audio-descriptive screening. The Industry section included a panel on the job market which is self-regulatory, a conference on sustainability being very green washing, a script debuts panel, podcasts on why the sound "źle słychać" ("is poorly heard") - I have to say I didn't manage to find it on the festival website. A survey on 'professional film festival participant' was conducted. For the first time Electrolux funded the greenest production award. You could also plant a tree with the festival paying 9,99 zł each online.

DRAGON GIRL

Watchable. This Christmas story returned to cinemas in the summer. In Poland it's only dubbed in Polish. The story's culturally versatile. The dragon looks real and makes realistic and pleasantly animal-like sounds. The tale is based on modern culture where YouTube likes matter more than relationships with people, refugees, including minors, face deportation and animals are deemed dangerous. It's predictable and childishly naive but the pet dragon is so cute it's heart-warming.

Reviewed from the distributor's screener, cinematic reception might differ.

WHERE THE CROWDADS SING

Recommended. About finding one's own ways of surviving and nature knowing no morals. It's so convincing it's easy to imagine it's true. I shed some tears here and there. The movie tells a sorrowful romantic story without ever being sappy. There's an overriding sense of tranquility. It's a beautiful love story most of all, with the addition of the beauty of nature in the opening and closing as well as delightful drawings up to the end of the credits. Recorded in Atmos so the sound is crystal clear. 

AFTER EVER HAPPY

Watchable. The 4th and not last (tbc) installment takes up where the 3rd part ended. But the ludicrously complex family situation only explains the glamour with which this toxic on-and-off love relationship and alcoholism are shot - Scott Hardin comes into money.

LE CHENE (HEART OF OAK)

Watchable. No words are uttered. Music changes pace and is impeccably selected, recorded in Atmos clarity. Wild boars rub against trees, several common European forest animals go about their daily affairs. But that often gave me a deja vu sensation.

THREE THOUSAND YEARS OF LONGING

Watchable. Adult tales, with nudity or decay. With Tilda Swinton who always sounds turgid and lofty, too many stories, an off-screen narrator and overtalked. Gosh, does it drag. Feels like three thousand years of watching. What keeps you at the cinema is the mere curiosity of what her wishes will be.

NINJABABY

Watchable. Based on a comic book, it's "Knocked Up"-cross-"Juno". Alcohol, drugs, sleeping around before and while pregnant is what sets it apart. Funny at times, e.g. "I'm no longer the father", touching another time as she hurts when birth-giving.

CICHA ZIEMIA (SILENT LAND) Q&A

The director's diploma film had been with the same cinematographer and pair of actors. The starting point for "Cicha ziemia" ("Silent Land") was the Lampedusa catastrophe and the 25-minute diploma film protagonists - a few years later they're confronted with the situation in this film. They are meant to be emotionally bankrupt. That's why the actors had to reduce emotionality. The protagonists don't want to leave their comfort zone so they stay passive. Jean-Marc Barr from "Le grand bleu" ("The Big Blue") impersonates the diver. Again. No soundtrack, no music, the sound layer is also ascetic. Originally the title was to be "Sucha ziemia" ('sucha' is Polish for dry or arid). She meant "Silent Land" meaning no commentary and the silence between the two protagonists. They started looking for a location in Costa Smeralda but the glass-covered pods were not that. It had to be secluded and half-faulty. It's a divers' base, only part gets used in the film - a sleight of hand. They used a photo board, next decided how long they wanted to look at each - sometimes it works as tension. The actress finds the protagonists cold and hard to get attached to. Indifference, suppression, helplessness? Why are they passive? In Ruben Östlund's "Force Majeure" only the man could have reacted, here both could. He cleanses himself jumping into the water. Lots of field for interpretation left. The film crew came from all over Europe, Italy kept Covid-testing them, they kept the restrictions too - no disco in town.  

ORLETA. GRODNO '39 (ORLETA)

Watchable. Consulted with a historic reconstructions group, the movie can be trusted to be historically plausible. Sadly, however carefully recreated the past reality is, it's filmed in a way where the background is often blurry conveying the impression it's fake. The lead boy protagonist is superbly acted by Feliks Matecki, the other characters are quite stereotypical but that at least simplifies the complex set-up. Already after the opening notes did I start doubting my ability to understand the Polish historical background. Fear not. The storyline centred round the Jewish boy becomes more and more lucid or, rather, portrays the complex moment in time convincingly. Graphic brutality, touching moments toward the end evoke emotions. It's also some food for thought. The nationalist, religious and ideological prejudices of Grodno 1939 can be observed in Poland nowadays too. And the complexity of the influences and side-picking have played a role in the ISIS territories or in East Ukraine more recently. A timely picture.

PAWS OF FURY: THE LEGEND OF HANK

Recommended. The cartoon is based on cats and dogs' typical behaviours shown as cultural differences. With references to the movie industry, film Easter eggs, the cuteness of pooch Hank and plenty of puns - both in the English version and in the top-notch Polish translation by Bartek Fukiet. Interestingy, no Atmos sound is used in the production. The songs are in English originals. Truly fun. There's a witty and important post-credit.

GOOD LIFE

Watchable. The first 14 minutes are silly interactions between family and friends. Then finally tantalising views of sundrenched white houses with orange roofs of a town on a bay bring you to Greece. The South African tragicomedy consists of contrived comical pieces about hostile villagers - trite, not much of a holiday movie. Or none at all for that matter since she's got a situation to resolve. The end credits are original since they show not only the actors but also many of the backstage crew in brief videos alongside their names. 

PAMIETNIKI TATUSIA MUMINKA (THE EXPLOITS OF MOOMINPAPPA)

Recommended. This Polish-Finnish co-production starts with gloomy black and beige opening drawings, accompanied by an ear-splitting song. Past that, less than 3 minutes, the fun begins. The animation uses compositing to ensure consistency with the original tales from years ago. Each character is distinct, quirky and unchangeable. Only the adventures, plenty, come one after another in quick succession. It's best to watch carefully in order not to miss any of the witty lines, e.g. "Już nigdy nikogo nie uratuję po ciemku." ("I'll never save anyone again in darkness.") or about giants: "czasem kogoś rozdepczą, ale tylko niechcący, płaczą potem przez tydzień i pokrywają koszt pogrzebu" ("they'll sometimes trample someone but only inadvertently, they cry for a week afterwards and cover the cost of the funeral"). 

Reviewed from the distributor's screener, cinematic reception might differ.

GAME OF THRONES: HOUSE OF THE DRAGON EP. 1

Recommended. George R.R. Martin co-wrote this prequel - an inside joke is (his) "Songs of Ice and Fire" are mentioned in the episode as an ancient work of high value to the House Tangaryen - and is the main executive producer. A dragon, violence increasingly shocking within one hour-long episode, nudity are all there. And one of protagonists resembles Daenerys with her future love interest being similar to Jon Snow. Costume details merit a big screen. And when Ramin Djawadi's music theme from the "Game of Thrones" returns you suddenly feel back home. Distinct protagonists, a network of intrigues. Also the season preview entices with plot developments which guarantee a huge following.

It's been available on HBO Max since 22nd August at 3 a.m. Polish time (CET). As usual, 3 a.m. Did I feel happy I had seen the preview before. 

ILLUSIONS PERDUES (LOST ILLUSIONS)

Recommended. Based on Honoré de Balzac's play, the movie depicts Paris after the Revoluton. Everything's on sale, there are no friends, flash costumes manifest wealth. Music by Debussy, Vivaldi and the likes illustrates this vanity fair. It's a world living off and prying on intrigue. Hoaxes, buying positive coverage or controversy in the most literal way is beyond whatever contemporary tabloids do. Director (of other movies) Xavier Dolan appears as Nathan d'Anastazio. Benjamin Voisin in the leading role combines naivety and spoil. He resembles Robert Pattinson in his seductive style. His alluring face and attractive body are convincing. At some point, when he bares it all, cash is seen right above his genitals - no illusions for the viewer. His fortune's highs and lows and backstage intrigues are engaging and at some point my eyes welled up. Still, most of all, it's thought-provoking. Unsettling a bit. Morally. For anyone having to earn a living. Or even those who don't. 

NA CHWILE, NA ZAWSZE

Watchable. Only for Paweł Domagała as Borys whose transformation is plausible even if you never associated this actor with such a role before, and for glimpses of life in a rehab and past experiences of alcoholics. But it's Polish filmmakers' favourite genre: drama, especially one about someone terminally ill with cancer - that's the case in this movie as well. The story's far-fetched, about a booze-addicted pop star befriending some underprivileged people she meets in a rehab and falling in love with another alcoholic. One of characters is raped and no one ever mentions how she got pregnant or that the rapist should be held accountable - a huge omission. Filled with pathologies which are treated as normal. Realistic, I guess but gloomy and dull. Ah, last but not least with plenty of pathetic Polish songs - torture.

SEAL TEAM

Watchable. While the tale, based on numerous puns and the main idea taken from Navy Seals, with some humour, e.g. when a singer makes the audience repeat after him and the crowd repeats: "Quinn?!" and "Where have you been?". The action is suitable for children and still fun for adults. The animation shows such transclucent water you crave swimming yourself, the protagonists are fun and colours vary. Top, perfectly matching music illustrates the scenes. Yet the action becomes overly complex, with plenty of characters added in its course and it becomes tiring. The Polish version is voiced in Polish and it doesn't sound too good either. Dolph Lundgren as dolphin Dolph, Seal or J. K. Simmons in the original must be better. While the translation contains a lot of puns, the version differs a lot from the original.

SUPEREROI (SUPERHEROES)

Watchable. The first movie by Paolo Genovese that has disappointed me. I barely understood who was who and when since the film jumps to and fro in time and between characters. It ends sad and both protagonists nearly dying in hospital seems far-fetched anyway. Such a waste of talented actors. I loved the scene with cos players - those actors resemble originals like Johnny Depp or Chris Evans a lot!

THE BLACK PHONE

Watchable. This supernatural thriller is gripping, set in the 70s, using some imagery of "It" and "Stranger Things" but it lacks depth, we have no idea why the Grabber does what he does or why his brother is so involved in deciphering the riddle. The solution is partly supernatural so it cannot possibly ring true. 

PO MILOSC / POUR L'AMOUR (FOR LOVE)

Watchable. A budget film, where two boys and one girl acting episodes in the film share the writer/director's surname - the boys are his sons, and the producer is his wife. Written and directed by a man, Andrzej Mańkowski but thoroughly feminist. All the male protagonists, whether a priest, a duly married husband or lovers, treat the two women instrumentally. Their stories are engaging enough even if predictable. Countryside mentality is aptly depicted and the solution where a woman had better die and be reborn free of all her oppressors is plausible. The biggest problem of the plot, however sensible, is that you've heard it all on various news. On the other hand, the depicted issues: blackmailing with sex tapes, alcoholism and the Church's paternalistic approach are commonplace in real life and rarely movie topics, especially online scams. The film portrays reality as it is, with little of wider context and next to none depth. The repeated scene opening and closing the movie doesn't change the message in any way. 

Reviewed from the distributor's screener. Cinematic distribution might differ.

CRIMES OF THE FUTURE

Watchable. David Cronenberg's latest. He's severely aged himself and so is his protagonist - having a relationship and sex with a much younger woman, a typical male fantasy. Are female engineers characters meant to cover up the sexism? All women characters have a specific speech manner, as if through their teeth, for some reason. The film is very visceral, dominated by an unpleasant plum colour but of a plastic shade. The plot is marred by inexplicable motivation behind the assassinations. At the same time, Cronenberg created a complete world where humans' digestive systems have evolved, surgical interventions are safe, painless and so common place they're a form of sex and 'inner beauty' is taken literally.

Reviewed from the distributor's screener. Cinematic distribution might differ.

THE BAD GUYS

Recommended. A cartoon heist where the gang comprises of: Wolf, Snake, Tarantula, Shark and Piranha - all walking, talking, wearing clothes. Their banter is top-notch, so are their gestures, facial expressions and, last but not least, tail wagging. Great twists of action, plenty of wit. The music comprises of some hip hop, including "Go" by Chemical Brothers - to give you an example of the rhythm. Only Polish dubbing is available at Polish cinemas, the original is voiced by Sam Rockwell and Awkwafina, among others. Still, the lines are brilliant and the Polish voices non-intrusive. Two songs are kept in English. The mid-credit is important - the ending to the story.

ELVIS

Watchable. It opens with the bling associated with the king even on the Warner Bros logo. It is very good. It charts Elvis Presley's life from birth to death and on, mentioning his lasting legacy. It takes getting used to the modern take on the biopic. Drone views of his neighbourhood, mid-titles or rap music early on - I'm guessing it's part of his legacy since in the scenes towards the end he boards his jet dressed in a blue tracksuit and a golden chain. As for his skill origins, the movie leaves no doubt, mentioning both his teenage years lived in a black area and his trips to Beale Street joints, where he would hang out with B.B. King and other "Negro" talents. The story's told from the point of view of the singer's manager so many tricks of the trade and ebbs and flows of the show business are the main attraction. The shrewd manager is brilliantly played by Tom Hanks. As for the lead actor, and sometimes singer (most songs are Elvis Presley's originals), Austin Butler, he is seductive but through his sexy eyes rather than the (in)famous hip wiggling. That's the biggest problem of the film. He dances with his legs, not his hips. The best parts are where original Elvis is shown, especially at the end. Even fat, he can sing. All in all, the singer's enormous talent gets a tribute. But even the ending is marred by other performers. It's worth waiting till the end of the credits to be thanked for watching the show by Elvis's voice. The whole thing is masterfully written, though the modern direction style takes away the period charm potential - hairdos are not enough - and the lead actor is a doll that can shake, can speak but fails to jerk his hips. 

NOTRE-DAME BRULE (NOTRE-DAME ON FIRE)

Recommended. A precise, chronological account of the fire of the cathedral. It charts all the failures: human errors - justifiable, circumstances, inadvertently also cultural reasons of the  protraction, i.e. formal communication. It also proves how much is down to pure chance.

IRREDUCTIBLE (EMPLOYEE OF THE MONTH)

Recommended. Hilarious, original. It opens and closes with the protagonist talking to the viewers. Takes the mickey out of trade unions, civil servants, the welfare state, cultural differences between nations and old good male rivalry - just watch the rival shouting: "my testicles" as an emergency helicopter takes him away only to hit him against a rock next - it was windy. 

THOR 3D

Watchable too. Previously I saw it from a laser projector which guaranteed perfect colours. Hard to decide whether 2D was enough or whether precisely rendered colours made up for the flat picture. No quality difference between the two screenings.

MINIONS: THE RISE OF GRU

Watchable. This prequel to "Despicable Me 3" is better than the previous movie. The action makes sense, the Minions, apart from their fast inarticulate speech, do utter some words: mostly in Italian, some in German, French or English. Their antagonists are named in a way mocking combat movie stars, e.g. John Clawed or Nun-Chuck. There's an early mid-credit but also a serious of drawings presenting their pranks.

הַבֶּרֶךְ (AHED'S KNEE)

Switched off. By נדב לפ יד (Nadav Lapid), the director of "Synonymes" ("Synonyms") from which I had walked out before. This film is also overtalked, less weird but about shooting a movie - the topic which never works in actual films. More and more characters and uttered sentences do not bring in anything new to the subject matter of censorship.

Reviewed from the distributor's screener. Cinematic distribution might differ.

BULLET TRAIN

Watchable. The whole film is based on American gangster movie style storytelling conversations intertwined with fights and is full of genre stereotypes. The exchanges are humorous, e.g. when the Brad Pitt character advises the vengeful girl to read a book on surviving the borderline syndrom, yet I laughed at none. Carver is mentioned twice, shown once and never again. Cut out in edit? The showdown is over the top and needless in the first place. Music, often joyful, doesn't benefit from Atmos. There are no special sound effects either. An ordinary screen will be fine. The early mid-credit clarifies the finale. Ladybugs seemingly coming out of the screen during the end credits signify it's all about Ladybug. His motto: "You put peace out in the world, you get peace back" ends the credits. No wonder he comes out alive. The whole thing is mediocre at best, in spite of some fun cameos, yet when you analyze some subtle hints, it's anti-gun, anti-violence.

VIENS, JE T'EMMENE (NOBODY'S HERO)

Watchable. A comedy with a few hilarious scenes, e.g. a prostitute's husband finds her in bed with her lover and since she says he hasn't come, he asks her to give him money back. The lover says it's fine but the husband insists and hands him in the money. The story's entertaining, unpredictable, the fun lies in constant surprises. On the other hand, it's the erotic subplot that's so hilarious, the Arab part rather explores French and Arab migrants' attitudes to the other party. 

BIG FESTIVALOWSKI

The new festival took place in Płock in August. The first edition was combined with the opening of the world's second, after Hong Kong, Meme Museum and featured plenty of light, soft entertainment: film-wise that means comedies, meetings, e.g. with the cast of Polish "The Office" after a screening of 3 episodes from the first season. "The Big Lebowski" opened the event, while the closing gala saw Koterski receiving a lifetime achievement award. The films were mostly Polish comical shorts of recent years, some animated, but also Polish and American full-length features, some new but most old, e.g. "The Apartment". Another oldie was Polish "Hydrozagadka" ("Hydro-Riddle") with an alligator from the Płock Zoo. Jurkiewicz offered a masterclass on how to write comedy - something he studied in the US, Chruścielewski on editing, Kosek a workshop on what's true and what's fiction in science fiction. There were concerts with film hits. You were meant to chill out and feel laidback to the extent of being able to wear a bathrobe and slippers. 

DE USKYLDIGE (THE INNOCENTS)

Recommended. This dark thriller/horror depicts children the way they are: shockingly cruel. The science-fiction part is they develop telekinetic, telepathic and, finally, mind and body controlling skills. It starts with boredom - on the kids' part, though at the beginning the viewer isn't thrilled either. Angry rather - with their impunity as their parents fail to notice their evil tendencies. The children kill their summer boredom - literally, starting with a cat, and discover psychic abilities - these games are fun for the viewer too. And the plot centres round these both types of pastimes as their capabilities grow. Then it's truly gripping. Their behaviours, so far from expected, are never quite predictable. Their brutality is unspeakable. I don't want to see anything like it again. But the movie's original for sure. All minors act remarkably convincing. The end credits are upside down. Natural after murderous kids leave the world upturned. 

FIREHEART

Recommended. An animation dedicated to firewomen. The reality of the job is to be taken with a pinch of salt. After a touching opening when the girl's dreams are shattered, comes the action and that's funny. Georgia's pet dog makes faces - with his full body - showing his reactions, the motley crew of firemen, a star actress, a garlic vendor are all well-overdone comic personalities. The movie carries a feminist message.

GOOD LUCK TO YOU, LEO GRANDE

Recommended. A saucy British drama. A young sex worker is hired by an aging woman. Expectedly hot it gets. Emma Thompson (now 63) bares it all and partnering her Daryl McCormack oozes sex. But it's mostly intellectual pleasure. The movie explores our attitude to bodies, to lust, to freedom as opposed to social norms.

SONIC THE HEDHEHOG 2

Watchable. Lots of effort was put into spectacular visual effects but they fail to seduce because of the messy plot. They put in everything you may want from a movie for tweens. For tweens because the humour, far from sophisticated, is sometimes aimed at children, sometimes teenagers, sometimes adults and such interests seem to converge in that age group. It's certainly not for everyone, for hyperactive types rather. And everything they put in means: cuddly characters, superheroes, secret agents, stroboscopes, Russians, Transformers-like gigantic robots and again that moustached weirdo Dr. Robotnik played by Jim Carrey. And a handful of gross jokes. Some scenes are lovely, full of warmth but most comprise of some tween banter and mayhem. Such a waste of the investment into expensive CGIs. At least there are some hit music pieces and a wonderful dance contest. Altogether fun in spite of the lack of a solid script. There's a mid-credit announcing a sequel.

AFTER YANG

Watchable. An important science fiction drama exploring the future of families, customer rights and feelings. Yang is an android - here called 'a techno' or 'a techno sapiens'. I loved the futuristic vision of life, together with the cityscape, autonomous cars and watching films directly through readers in the form of glasses which you put on to see and control with voice. But when those novelties are no longer central, it's just a slow, paradoxically dispassionate, love story. An important film, yet imperfect. Like a prototype.

CICHA ZIEMIA (SILENT LAND)

Recommended. Poles have hard holidays this year. If it's not 'fucking Bornholm', it's effing Sardegna. The title is ambiguous. Polish 'ziemia' could mean earth, land, soil, ground - each meaning gives you ample opportunities to interpret its sense. Film-wise, wonderful vistas of the island and the sea form the backdrop to a quiet but well-paced moral analysis of modern European humanity. A gripping drama in a holiday spot.

TOP GUN: MAVERICK

Recommended. The movie's a result of extensive cooperation with numerous Navy aviation units. The sequel opens with the 90s theme remastered in all-surrounding Atmos, even if you watch it in an ordinary screening room, and impressive visuals. You're in for a cinematic feast indeed. The music is a mix of old and new tracks, the 80s ones appearing whenever the past is mentioned. The story's gripping, tear-jerking at times but equally funny at others, e.g. when Maverick has ejected himself from a plane and walks into a diner in his pilot uniform, looking unsteady and asks: "Where am I?" and a kid answers: "Earth". The plot smoothly blends the old and the new story, even though Kelly McGillis' character is replaced with Jennifer Connelly as Penny, apparently another old crush of Maverick's, though I don't remember the original movie that well. The whole thing is uplifting and leaving you empowered. Top film. Marvellous. 

GLUPCY (FOOLS)

Watchable. Excellent cinematography narrows down your world to the one on the screen and prevents you from leaving before the end. The story's a typical Polish drama about a terminally ill family member, with his moaning, screaming, family's helplessness and some incomprehensible reactions. It's studious: the man is carried like Christ taken off the cross, his hip bears an inexplicable whip mark, his hair and beard overgrown. Some actions are echoed, e.g. the changing a diaper movement is repeated in covering one's loins with a towel and moaning is echoed by sounds made by seals. The picturesque location on the sea soothes the painful moments. While the story is a bit hard to comprehend, at least the events are shown in a chronological order. The last scene turns the sense of the whole movie around. 

Spoiler: the last line the black-haired woman says to the blonde one in water is: "Tomasz jest moim synem" ("Tomasz is my son"). 

NOWE HORYZONTY FESTIVAL

This year the festival took place in cinemas between 21-31 July and till 7 August online. Below is what the organizers said about the content and guests. The jury comprised of 5 people, including Radu Jude, Michel Franco, Agata Buzek, "Synonymes" ("Synonyms") director נדב לפיד (Nadav Lapid). While the first two are superb directors, the actress and the latter director bore viewers to death. As for film makers showing their movies, those who started off as Odkrycia (Discoveries) now grace the Mistrzowie, Mistrzynie (Masters) section. A retrospective of Agnieszka Holland took place for the first time in Poland. Since not all her films were shot in Poland, getting screening rights took time, e.g. the rights to "Zabić księdza" ("To Kill a Priest") took 2 months to obtain. Between 21-25 July the director was at 3 Q&As daily. More than 10 films of hers were shown. Over 400 guests came in total. Jonas Mekas's retrospective - the director died 3 years ago at the age of 97 - included a 5-hour long movie. Another one was Lucile Hadžihalilović's retrospective - the director is known for metaphors of body, spatial, architectural thinking, closed worlds, water present, e.g. "Earwig" - the girls' ice teeth melt during the day, Gothic brutality features too. Another retrospective was Joanna Hogg's - Tilda Swinton's friend, who discovered Tom Hiddleston. She used to work on UK TV series and documentaries and at 47 created her first cinema movie. She's sensitive to class issues and fills her films with subtleties and humour. Intriguing festival offerings were: "Peter von Kant" by François Ozon, artist Roee Rosen's "Kafka for Kids" - for naughty adults rather, "Answering the Sun" which was in fact hypnosis, all audience is hypnotised through the film. Female debuts appeared in 'Focus on Kosovo'. The Trzecie Oko (Third Eye) section was on female servants: contemporary court workers or maids, precariat, the Białe Noce (White Nights) section saw the far North, where half a year is dark, half a year intensive sunshine. For that reason it was accompanied by midnight or break of dawn concerts. 朱声仄 (Shengze Zhu)'s "河流，奔跑着，倒映着" ("A River Runs, Turns, Erases, Replaces") constituted of letters to Covid victims read by close ones - in section Lost Lost Lost. A section for the hard of hearing was there too.

One of the films presented at the festival was:

CLOSE

Recommended. Convincingly acted by everyone, but it's the big-eyed lead boys Leo (Eden Dambrine) and Remi (Gustav de Waele) who deserve a special mention as promising future stars. They perfectly express everything with their eyes, faces and bodies. The movie's psychologically true. When Remi starts to cry and you think Leo may embrace him, he attacks with his fists - a physical contact is maintained but one socially accepted. While the peer pressure at school teaches both boys, especially Leo, a level of aggression, it makes you wonder what our whole society would be like if boys could cuddle in public. The first act, about half an hour long, is the two boys' closeness, next comes social separation and the brief, about a quarter of an hour long, finale is the guilt confession. At least the culprit is embraced. 

QU'EST-CE QU'ON A TOUS FAIT AU BON DIEU? (SERIAL (BAD) WEDDINGS 3)

Recommended. Christian Clavier is still the driving force for the franchise but a German character plays a vital role and at some point an Indian family member arrives. They mock veganism too, as well as inept workers. Most importantly, I burst out laughing a few times and I was still giggling at the end remembering "Find some Chinese people in Paris, maybe Vietnamese. He won't tell the difference". Undeniably hilarious. And I loved paying the international family another visit at the cinema.

JURASSIC WORLD DOMINION 

Recommended. Top visual effects enhance this science fiction flick which is primarily about dinosaurs but with serious undertones regarding humans' attitude to animals. The opening scene, similar to the one ending "Jurassic World: Fallen Kingdom", only means equally awesome images are yet to come. The introduction recaps the events of earlier movies from the franchise. And the new movie is also perfectly clear, without compromising complexity. This part comes up with a complete science fiction idea which actually makes sense. "We're only 3 meals away from anarchy" and other smart one-liners get you thinking. World famine because of corporate greed is another bite of food for thought. Perfect cast makes both the serious undertones and the numerous adventure sequences, with western elements, convincing. All the prehistoric animals look fabulously real. The movie offers some iconic images, e.g. a small velociraptor strapped to Owen's back. John Williams's theme features within Michael Giacchino's score. The film is long (148 minutes) but that means you get your fill of the dinosaurs. The ending is beautiful: in its message and the pictures. No mid- or post-credit.