THE LONELIEST BOY IN THE WORLD

Watchable. There's bizarre fashion time confusion, that baffled me through the movie. It opens with cheerful 1985 music, though the set decor and costumes look more like 70s. The picture has its own original palette. So this dark comedy sees pink sky in his family memory and you get generally colourful 1987, in candy pastels - in line with the pleasant story. Max Harwood is perfectly cast as Oliver but made wear 70s clothing - top of the fashion but incongruent with the period. On the other hand, it doesn't make much sense he digs up a black woman instead of his real mother. Vomiting and leaking are too much. Also, the ending is quite predictable. And while the whole thing is tongue-in-cheek, it's just mildly funny. It's heart-warming rather. Very 80s teen movies style. In Poland, Anna Adamska translated it truly well into Polish. 

Reviewed from the distributor's screener, cinematic reception might differ. The movie's available on Internet platforms.

L'INNOCENT (THE INNOCENT)

Watchable. This tragicomedy about our attitude to crime takes time to start the ball rolling. It's all very ordinary - both cinematography and acting are casual. It's only the final act, when the heist finally takes place, that's fully engaging.

RADIOSTORY

The Warsaw premiere took place on the director's birthday 13 June. He had said once it would be fun to have Piotr Głowacki over for his birthday, to which his friend had responded: "You'd have to make a movie". So he's made one with the actor. No special effects were used. Writer/director Maciej Hydr oversaw everything, whether music or costumes or decorations. 

Recommended. Vibrantly recreated 1991 in Poland and gripping rivalry between the protagonists. All inspired by true events. The movie faithfully renders the Polish mentality and ridicules it, you can also infer subtle references to our contemporary times. Brilliant lines, often snappy, always to the point, abound. Several comical scenes, especially with Bogdan Kalus as the "red" radio station director and a French Bulldog as his dog. The dog scenes are funny and delightful. Spot-on costumes are often dowdy outfits, remembering communist times, but also checked shirts in different shades of red and two shades of blue jeans in one scene - the couple are a match. Wonderful aerial shots of the coastal area complete the picture. Spacious sound, combined with great international pop hits of 1991 and later ones, from 1999, like "Mambo No.5" or "Freestyler" mean this rocks. Big time. Witty, dynamic, true to the social-political background as well as the set decor. Consummately crafted.  

THE LITTLE MERMAID

Watchable when seen again. It's a rare case where the Polish dubbing is better than the English original, especially that the original version has the music too loud and the dialogues too quiet at times. And the songs, nearly the same, drag. I spotted some more details this time round, but most of all, it felt too long. Also, the first time I saw it from a laser projector and then it looked better than on a regular screen. Although, Ariel's send-off looked beautiful and the final, danceable "Under the Sea" song kept playing in my head long after leaving the cinema.  

ABOUT MY FATHER

Recommended. Not just for Kim Cattrall or Robert de Niro. In spite of typical American humour - on the irreverent side, it's just hilarious, whether "I'll cut you some lemon. I have a knife." "He's got a knife!" or someone's trunks falling down, I was laughing out loud. The serious undertones are: the ethos of work versus living off financial investments, how our parents shape us, varying lifestyles, different perception of various groups of immigrants. And smart  class remarks, e.g.: "The dog went to better schools than I did." 

EMIGRACJA XD EP. 1

Switched off. An off-screen commentary was upsetting from minute one. The rest is Polish 90s-style comedy - outdated form, unfunny. 

Seen courtesy of Canal +. 

MARIE ANTOINETTE EP. 1

Switched off. Marie Antoinette cracks under pressure. Constant pressure so cracks repeatedly. Next she regains mental strength but is ridiculed by others. Then she has nightmares. A peculiar depiction of the future queen. It appears to follow in the footsteps of "Corsage" in its presentation of a queen as a weak person, forced to obey others. In this serial so is the future king. Disturbing. And the whole thing is slow and reflexive

Seen courtesy of Canal +. 

INDIANA JONES AND THE DIAL OF DESTINY

Recommended. Harrison Ford v. Mads Mikkelsen i.e. Indy v. his arch enemy Mr. Schmidt aka Voller. Shot partly in Morocco and Sicily but mostly in and on a train, a plane, cars, motorcycles, a horse, a boat and underwater. Atmos provides surrounding ear-splitting sound effects of the machinery. John Williams' music complements the effects. But it's all fun 80s style, very much following the pattern of the first movie but with stronger females, the female lead co-solves riddles and doesn't complain about a broken nail. There's a boy kid too and Indy nearly dies. Karen Allen, John Rhys-Davies and Antonio Banderas make cameos. A modern take on costumes means Wombat's Moroccan outfit was made from upcycled materials by Stella McCartney. Adventures aplenty, expertly crafted action sequences and a treasure-searching quest glue you to the screen. Famous historical events mark the storyline. Best of all, they travel even in time at some point and it's all consistent with the quasi-scientific plot. A triumphant return. 

BELFER III (THE TEACHER III) EP. 1,2 .

I've seen the first two episodes already but, due to a publication ban, will only be able to post their review on 5th September. In the meantime the first season is available on Canal + online free of charge all summer.

Maciej Stuhr commented on his role: "Zacząłem uczyć akurat jak zaczynałem ten serial. Czasem rozpoznaje kogoś: o, tego uczyłem! A nie, grałem, że go uczyłem!" ("The time when I started teaching coincided with when I began the seral. I sometimes recognize someone: oh, I used to teach him! Ah, no, I acted teaching him!")

ALIBI.COM 2

Recommended. A crazy comedy of errors where errors pile up. It follows in the footsteps of "Qu'est-ce qu'on a fait au Bon Dieu?" ("Serial (Bad) Weddings") and "À bras ouverts" ("With Open Arms") with some tropes. Though it's absolutely irreverent, with some nudity. But mostly with plenty of hilarious gags. Btw, I just loved the fake mother "bereft of charisma".

LE OTTO MONTAGNE (THE EIGHT MOUNTAINS)

Recommended. You know from the start it's going to be on the value of friendship. I also loved the notion that reading enriches vocabulary - even though one of the protagonists has no education, he values it. Slow cinema but deeply touching. 

THE LITTLE MERMAID 3D

Recommended. Having seen the Polish-dubbed version once again I only got more certainty it's a rare case where the Polish translation and voice actors sound funnier than the original. The songs sound better too. The original takes care to provide a variety of accents, the Polish version is about language and voice styles. I also spotted more details in the movie itself, e.g. "His Deepesty" Triton's cloak is made of a shoal of fish. Decent 3D.

PRZEGLAD NOWEGO KINA RUMUNSKIEGO (NEW ROMANIAN CINEMA SCREENING)

The screening covered directors of all generations. I had reviewed "R.M.N." by Cristian Mungiu from an older generation before. This time I saw the two of the younger directors' movies: "Imaculat" ("Immaculate") by Monica Stan and George Chiper-Lillemark and "Omcaine' ("Man and Dog") by Stefan Constantinescu.

IMACULAT (IMMACULATE)

Watchable. Opens slow, the whole movie puts emphasis on Daria's face, which is tedious at times. It's a budget drama taking place all in one location but dense with the feeling of oppression and being cornered. Is she a victim or is she playing everyone around? Unsettling but gripping. It takes time to realise she may have manipulated them, not the other way round, so subtle it is, her being so fragile and looking innocent and naive. Puzzling. It does not end before the final credits. She leaves, then early end credits run, and next you see scenes of her life outside. Again, is it after or before the therapy?

OMCAINE (MAN AND DOG)

Watchable. The man stalks like a dog and abandons the canine tied to a tree in a wood when he drops his investigation himself. While I see the analogy, whoever does it to a dog?! There's little chemistry between the lead actor and the dog or the woman, little chemistry in general. Worst of all it drags awfully. Pleasant, Romanian 80s style music from time to time is the film's saving grace. 

SLAVA UKRAINI

Watchable. The documentary footage of this wartime tour of East Ukraine reliably portrays both the destruction and the people's spirit. The graves in the woods of Bucha resemble similar images from Katyn a lot. But the nation is peaceful and unbelievably resilient. No doubt about that. At the same time it's a propaganda piece conveying the message Ukraine is going to win. The director's optimism is substantiated by numerous victories and Russian troops occasionally switching sides. Yet you feel it's propaganda, especially in hindsight - while Kherson is presented right after liberation, I was watching the film days after it was flooded by Russians. Having seen this documentary I believe in victory, but it won't be an easy one or immediate. The director taps into French values to persuade his own nation into the change of stance. The final direct appeal to the French to support the military efforts of Ukrainians makes it even clearer.

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

LUX FILM PRIZE DAYS

KURAK GUNLER (BURNING DAYS)

I've reviewed the movie before so here comes just what I learnt from the introduction by Karol Szafraniec. Director Emin Alper is involved in oppositional activity. His earlier "Tepenin Ardi" ("Beyond the Hill") was poetic but western-like, just like "Kurak Günler" ("Burning Days"). It's also rooted in فرهادی (Farhadi) who, through intrigues, depicts the situation in Iran, and in American noir, especially "Chinatown" to which you may find references. The difference between the protagonist's internal and external world triggers him to explore.

EVIL DEAD RISE

Recommended. Sam Raimi is just one of the executive producers this time but keeps scaring you relentlessly as usual. Even the opening credits sound ominous and the title drips with blood, the content is blood-curdling horror nearly all the time and that extends till the end of the final credits - first the book pictures are displayed on the full screen and then the frightening music continues till the very end. It's still trashy and I hate the series. Under Lee Cronin's direction (and following his script) though, the plot makes more sense than in both original Raimi's movies, the camerawork is astonishingly dynamic, the sound truly surrounding. It's gory towards the end. The real life part is 80s style, the dominant horror part refers you to cult films from the past, e.g. "The Shining", "The Texas Chainsaw Massacre" and several other, some scenes resemble "Resident Evil". Too scary for my taste but trope-spotting fun for genre buffs.

MINUTA CISZY (A MINUTE OF SILENCE) EP. 4

Recommended. Further intrigues, twists and turns and a finale with a great pun.

Seen courtesy of Canal +.

IL BUCO (THE HOLE)

Watchable. The first seconds give an impression of a continent opening up which soon reveals itself as a hole in the ground. Archive footage lets you peak into floors of a high rise building from an outside lift. Pictures and sounds of daily life in a village in the mountains of Calabria shot at varying times of the day and night a few times give way to the pictures and sounds of underground descents. Earth vertical. Conquered by man at all heights and depths. What we normally see as horizontal, space, is looked at in the other dimension. Humans get to know our planet in-depth and inside out. Few words, no music. Slow-paced but with compelling cinematography. Dedicated to the speleologists of the 1961 expedition. Tribute to human quest for knowledge. 

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

ALL THE BEAUTY AND THE BLOODSHED

Recommended. A searing look at the art world: from how art becomes conceived to how art galleries are funded. Shifts your perception. The Sacklers bankrolled major art galleries worldwide with staggering donations. What appears a bit rambling and beside the point at first, converges at the end. It's all meaningful, connected, one incident affects other ones and a series of accidental life events create her. A fun fact is that the Yes Men were involved in Nan Goldin's happenings within the P.A.I.N. activist group. The personal story of Nan Goldin, who comes across as a very candid person. is not so much from rags to riches but from "beyond shy" to powerful and mind-blowingly effective. Edifying.

Having worked in some of the galleries mentioned in the documentary I have to admit it took me the whole film for the moral message to sink in. I understand why the galleries didn't react right away. 

14. PRZEGLAD NOWEGO KINA FRANCUSKIEGO (14TH SCREENING OF NEW FRENCH CINEMA)

FALCON LAKE

Recommended. A coming-of-age drama for a bigger part, with charming Joseph Engel as Bastien, the movie changes its genre. Surrounding music becomes horror-like when the family car departs through the forest - the finale's chilling and turns the whole story around. This is subject to interpretation though, I've come up with three so far. 

KRAKOW FILM FESTIVAL

THE HOSTAGE TAKERS

Recommended. A unique chance to 'talk to' ISIS fighters who held hostages, beat them, executed, demanded ransom. They try to minimize their own involvement, blame the one who had got killed in a drone attack a few years earlier but strongly stand by their cause, treating their actions as a revenge against bombing Arab targets. Parallel accounts are given by an ex-hostage, the negotiator and the two ISIS members. The documentary is gripping as you want to hear more and more. The perpetrators' innocent faces, friendly demeanour, crying after their "wives and children in a camp" are shockingly deceiving. That haunts you afterwards. 

Reviewed from the organizers' screener, cinematic reception might differ.

DWA LATA BEZ DYREKTYWY WS. PRAWA AUTORSKIEGO. CO DALEJ Z TANTIEMAMI Z INTERNETU DLA FILMOWCOW? (TWO YEARS WITHOUT THE COPYRIGHT DIRECTIVE. WHAT'S NEXT WITH ROYALTIES FROM THE INTERNET FOR FILM MAKERS?)

Representatives of Polish film makers are clearly frustrated and begruntled. Apparently former Netflix CEO Reed Hastings met with President Andrzej Duda and Prime Minister Mateusz Morawiecki, never bothering to meet any Polish film makers' associations, after which Polish authorities have been finding ridiculous excuses not to implement the EU directive. 7 June 2023 marks the 2 years since the deadline and Poland risks penalties. Netflix pays their Netflix Originals creators higher rates than the rest of the industry offers. But it doesn't pay royalties even to them, let alone others whose work they profit from. Nor do other platforms but it's Netflix that constitutes 50% of the market. They may manipulate the public opinion and authorities with promises of investments but the scale of those would be about 100 people employed. At the same time platforms make 2.5 billion zlotys per year, of which just 1.5% should be paid out to the artists. 

THE SUPER MARIO BROS. MOVIE

Watchable. Anna Taylor Joy superbly voices Princess Peaches. There's lots of 80s music, some of the best of the time, e.g. Beastie Boys, A-ha, Bonnie Tyler, Electric Light Orchestra. But the imagery is a cross of the Maledives and "Avatar" at times. Most, of course, resembles a computer game. The movie's eventful, the story ridicules machismo, with a dorky evil turtle and a smart and feisty princess. The translation into Polish is off sometimes, at some point the translator clearly didn't understand English enough. There are mid- and end-credit scenes. 

TORI ET LOKITA (TORI AND LOKITA)

Recommended. Belgian crime drama by Luc and Jean-Pierre Dardenne, the brothers known for social dramas covering employment or immigrant issues. Frighteningly realistic. With superb Pablo Schils as Tori. It's a captivating crime drama which just shows what segregating people leads to. The best of their movies I've seen.

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

BOOK CLUB: THE NEXT CHAPTER

Recommended. No need to remember part one, it's perfectly fine as a stand-alone picture. Or as a long commercial of Italy as a tourist destination. For rich, well-dressed Americans especially. But it's so much fun, some scenes are hilarious, e.g. "OK, run! No, actually let's walk fast" or when the senior ladies go to see naked men... in a museum. Star-studded cast. The movie's pure, frivolous fun. Catchy songs e.g.: "Felicità", "Gloria", "Mambo Italiano" add to the enjoyment. The end credits first show drawings, next pictures of the film crew having fun in Italy.

LOVE AGAIN

Watchable. My long-time-favourite Bollywood star Priyanka Chopra Jonas has finally landed a leading role in Hollywood. Her husband Nick Jonas makes a cameo as Joel, her app date in the movie. Céline Dion will delight anyone else. She's one of the executive producers so you get plenty of her music, of course. Surprisingly it's recorded in ordinary Dolby, no surround quality. Sadly the script of this romantic comedy is trite and sappy. There are some funny bits, including a hilarious date invite starting with: "Do you eat?" but for a large part it's so sorrowful, I cried most of the time. An obnoxious shoe product placement vexed me further. There's a mid-credit.

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FOGO-FATUO (WILL-O'-THE-WISP)

The director was born in Lisbon in 1966. In 2016 his "O Ornitólogo" ("The Ornithologist") came out. He had first studied biology and wanted to become an ornithologist. I had had a chance to see that movie and remember it as weird but with a hot lead actor, often appearing naked. 

Watchable. After a stilted beginning, it turns more exciting. Still, this medium-length drama is bizarre: a political manifest, quasi-environmental, gay, mixing theatrical imagery, like speaking straight to the viewer or closing doors to divide the film into parts, with full-screen dick pictures, artistic porn and truly good dancing. The musical part plays out well. The story's consistent, acting superb, the effect weird. 

KRAKOW FILM FESTIVAL

SIGNS OF WAR

Watchable  The documentary consists of one French journalist in front of the camera and the  photos he took. Barely a movie. At least informative. Shocking how many inhabitants of East Ukraine were pro-Russia in 2014, stamped on the Ukrainian flag, manifested their strength and fierce support. No wonder the world accepted the invasion and Russia didn't expect any opposition in 2022. Astonishing how deliberate each move was for propaganda's sake. With each day of the commencing war and the story recounted by the French reporter tension grows. And brutality rises. No idea why mid-titles are shown for so long. A siren is sounded during the end credits. A reminder the war is on.

Reviewed from the organizers' screener, cinematic reception might differ.

BEZDROZA (UNPAVED)

Watchable. Poor but happy. All troubled. People who've taken themselves out of the rat race. People who want to be away from others. Instead they form a tight-knit community. They live slow lives but full of duties - mostly around animals who roam the ranch freely and are truly free, unlike the people. And they love animals: "When you touch an animal outside, it touches you inside."

Reviewed from the organizers' screener, cinematic reception might differ.

FANTASTYCZNY MATT PAREY (FANTASTIC MATT PAREY)

Recommended. The cast list for this documentary screams Parowski promoted men only. It gets confirmed around the 3rd minute when a string of Maciej's co-workers list their first reads - it's so bizarre it's hilarious, a world without women. Later on you hear of some specific cases where he thwarted female authors. Sheets from the comic stories he scripted, "Funky Koval", show fully-clothed men and naked, topless, scantily clad women. Less than one hour in, Parowski reveals his rightist views. The film charts his life from his beginnings as a science university student with no knowledge of science fiction whatsoever - funny to see the pictures of him so young. It quickly becomes clear why Parowski used to say "Fantastyka" was created as a "pismo kontestacyjne" ("a dissentive magazine") or why it was so hard to buy. The magazine writers wonderfully reflect on Maciek's personality, often humorously - the selection of photos and TV footage enhance it. You often get the feeling as if Maciek was still with us. With comic book style animated bits and fantastic music it's all dynamic. The only little problem is not all utterances are audible but that's down to some protagonists' sloppy speech. All in all, it's the most comprehensive biopic you could imagine. And "Kino jest snem cywilizacji" ("Cinema is the dream of a civilization") leaves food for thought.

Reviewed from the organizers' screener, cinematic reception might differ.

CONSECRATION

Recommended. Set in the evocative Isle of Skye in Scotland. More of a crime story than a horror, especially that at some point a priest conspires with nuns. Two worldviews collide so the rest is subject to your interpretation: either scientific or rational with the added supernatural protection or fully religious. Whichever you choose, it's engaging and truly original. 

THE BOOGEYMAN

Watchable. Based on Stephen King's short story of the same title from the "Night Shift" collection, it also follows 3 earlier Boogeyman movies so you'd expect something new. Instead, a giant spider-like, long-clawed, slimy monster lurks in the dark places of houses. On the rational level it may be a figment of the imagination of bereaved ones but counselling has been a common trope in horrors too. Awfully derivative. I watched only out of sympathy for the protagonists.

SOLARIS MON AMOUR

Watchable. Black and white 1959-1982 science documentaries excerpts mixed with old radio adaptations of Lem's "Solaris" by Jozef Grotowski make this 40-minute (not counting credits) compilation drag. Also, while the visual quality of old films is fine, the audio is not always clear.

The two celestial bodies or the intelligent ocean being a person correspond with building a relationship. While the dream of conquering the space from a century ago was bold and inspiring, the contemporary interpretation seems flat, as if a loved one mattered more than the whole universe - it may have, for the director, but to an outsider it ruins the dream of the exploration of new worlds. On the other hand, as works by grieving creators go, this one is bearable, the personal layer doesn't overshadow the universal one. Still, the educational footage e.g. of a brain or a dentrite simplifies the message hence renders the film more archaic than the footage itself. 

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

ERNEST ET CELESTINE: LE VOYAGE EN CHARABIE (ERNEST AND CELESTINE: A TRIP TO GIBBERITIA)

Watchable. This watercolour-style animation tells of two characters who dream of being musicians against their parents' will - a common trope. But the mouse gasping like a dog waking the bear in the morning, the mystery behind Ernest's unwillingness to visit the town,  the undulating road of mountains and valleys, the peculiar laws in the town make for an original adventure. The worst part is the music itself - Klezmer/Balkan style

THE POPE'S EXORCIST

Recommended. In terms of the means of expression, it's blood pumping, nail-biting, frightening for the most part of the movie. But it has a story: the sins of the Church - past and present. And a likeable exorcist who jokes. Interestingly, one of the bands you hear from the girl's walkman is called Faith No More. 

EL CIELO NO PUEDE ESPERAR (HEAVEN CAN'T WAIT)

Watchable. This documentary explains why very young - 15-year-old at his death - Carlo Acutis was beatified. The part where gravely ill patients and their family talk about inexplicable healing is moving. But it drags awfully. Several talking heads repeat the same over and over, only occasionally adding something to the topic. 

마리 키리 (MARIE CURIE) 

Watchable. This Korean musical, musically monotonous, showcases the meaning of the discovery or radium and polonium for humanity: from awe and silly gadgets, through seeking a cancer cure, to the deadly properties of the elements. It's all wrapped up in a consistent story highlighting the Polishness of the scientist. However much I dislike theatre and barely understand physics, let alone chemistry, this performance was engaging. It radiated admiration for education, science and striving for the best in oneself as well as responsibility towards others. Very Korean. Fortunately. Or not. Since the Korean Marie Curie sniffles aloud.

LICZBA DOSKONALA (THE PERFECT NUMBER)

Switched off. More of an essay rather than a movie. Konrad Eleryk makes a cameo - as his usual villain type. But the lack of a plot ruins it anyway.

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

14. PRZEGLAD NOWEGO KINA FRANCUSKIEGO (14TH SCREENING OF NEW FRENCH CINEMA)

RODEO

Watchable. Dedicated to "all asphalt pirates", it tells of the burning (pun intended) desire to ride motorbikes. Problem is, Julia aka Inconnu (Unknown) is broke, steals bikes for joy rides and, in her despair, joins a bike gang. With her troubled past, virtual homelessness and disregard for law she doesn't raise much sympathy, though the gang world is brutal: she gets robbed, beaten up on another occasion, is constantly insulted and threatened. She still wants to belong. The crime world personal relationships are nothing an ordinary viewer would want to experience. But the story's engaging, stunts impressive and music enticing in its own right. 

ZYCIE W BLOCIE SIE ZLOCI

Watchable. The title typography looks great. Hot Bartłomiej Małachowski acts as Lupus. And that's about it. No protagonist exposition. The viewer enters the middle of a story with multiple protagonists. Poor cinematography and editing. First the jerky cut makes it look as if they were halting every few seconds while driving. Worst of all, it was only half-way through the movie, that I started to grasp what it was about, then who was who and finally the rest of the intrigue. At least all those rap lyrics mean something.

GUARDIANS OF THE GALAXY VOL. 3

Recommended. The heart-grabbing opening is totally unlike anything you've seen in this silly franchise before. What astonishes is the pro-animal message, mostly against experiments on them. The story appears to be partly inspired by "The Island of Doctor Moreau", partly by the Russian laika sent to the outer space, partly by Noah's ark. Technically - decent 3D, Imax unnecessary. A fun fact is director's brother Sean Gunn voices Little Rocket. In the post-credit the grandfather is reading a newspaper whose reverse has an "alien abduction" title and Pete is wearing a T-shirt with "Freakies", one of who is green. I used to think of "Guardians" as silly, for dumb people rather, but this part blew me away.

THE LITTLE MERMAID

Recommended. Shot in Sardinia, Italy and Pinewood Studios, London, with Melissa McCarthy as Ursula and Javier Bardem as King Triton. As for the mermaid skin colour, there are seven mermaids ruling the seven seas so it only makes sense for each of them to look different. Ariel's glittering tail, all shell- or fishscale-like costumes, even octopuses are breathtaking. Make-up, cinematography, CGIs are all stunning. The shark is superb. The dialogues are wonderful, excellently rendered in the Polish translation by Alicja Roethel. Katarzyna Dąbrowska fantastically voices Blaga (Scuttle) in the Polish version. The movie conveys a mild environmental message but mostly is just a musical fairy-tale. Speaking of music, an instrumental theme echoes Ariel's song but it's Polish Sara James that performs most in the dubbed version. Only the end credits song is in English - the only one I enjoyed. Still, it's a top-notch fairly-tale movie. 

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ALCARRAS

Screenwriter/director Carla Simón's came up with the "Alcarràs" idea after her grandfather's death. 

NOSTALGIA

Watchable. Napoli (Naples) is best loved from a distance. Pierfrancesco Favino glues you to the screen as Felice Lasso who returns from emigration. His mother is already old, bathing her is one touching scene. Then you become intrigued by the meeting he tries to secure. The makers gradually reveal fragments of truth and tiny clues as to what led to his emigration. The developments are accompanied by varied music, not by Tangerine Dream. The whole thing is about what qualities we nurture in ourselves and what we become after years. The finale's  astonishing.

AIR

Recommended. 80s songs, grainy cinematography, shots of celebrities of the time, set decor and costumes transport you to 1984 right from the start. The music continues through the movie. Star-studded cast includes Matt Damon, Viola Davis, Ben Affleck, Jason Bateman, their characters are all already successful but just before the launch of Nike Air Jordan shoes whose sales will skyrocket once Michael Jordan puts them on. The movie presents the rivalry between Nike, Adidas and Converse, the financial risk Nike took, the trepidation awaiting the spontaneous pitch result and how their desperate move spearheaded the now common practice of celebrity shoe or clothing lines. A piece of sales and marketing history in a gripping form where you root for the protagonist whose move is a make it or break it, Nike staff's banter is snappy, celebs are picky.

MY NEIGHBOR ADOLF

Watchable. David Hayman as Marek Polsky and Udo Kier as Mr. Herzog - both character names are subject to viewers' interpretations - appear in a farce on the myths of: Adolf Hitler surviving the war, non-German Nazis, over vigilant Jews, as well as Nazi riches. On the serious side, it shows how some Germans were long-term victims of the regime too. A number of issues are dabbled, it's all well-enacted but what for? Neither a comedy, nor a drama and no clear reason to pick this movie.

SISU

Watchable. In this flick the Nazis know they're about to lose the war and be hanged. This drives their desire to rob certain Finn of his gold. It's exactly what you could expect after the trailer: an unbreakable Finn with "whiteknuckle courage" and defiance fights off Nazis. Surround sound ensures you hear the war all around. Evocative cinematography enhances mesmerising landscapes. Original music, convincing acting by Jorma Tommila as legendary Aatami guarantee to keep you on the edge of the seat for 1.5 hours. Solid stuff.

KNIGHTS OF THE ZODIAC

Watchable. Tomasz Bagiński's full-length sci-fi flick, based on manga, is packed with impressive visuals which, together with a few recognisable faces, make the formulaic plot just sufficient. 

20TH DOCS AGAINST GRAVITY FESTIVAL 

THIS IS NOT A CEREMONY - VR

Recommended. The Canadian film contains shocking accounts of systemic abuse and  discrimination of native Americans in not so distant history. They're told by strikingly good looking representatives of the nation.

MYRIAD. WHERE WE CONNECT - VR

Recommended. This German film makes you fly with ibises as you follow a touching story of them first imprinting humans as their parents and then the humans flying with them as guides.

IN PURSUIT OF REPETITIVE BEATS - INTERACTIVE VR

Watchable. You learn the whole logistics of getting to an illegal party and what they actually were in Britain of the 1990s. It also makes you dance but each part and each utterance is too long.

BLISCY (DEAR ONES)

Watchable. It lasts 74 minutes but feels like 7 hours. Grieving is treated with a dose of levity so the drama is quite peculiar. At least there's an axis keeping you in suspense and a few slight as well as a handful of more decisive twists of action in the finale. 

PUSS IN BOOTS: THE LAST WISH

Watchable. The first act is haywire: the swashbuckling Gato is full of himself, fights a monster, embarks on a quest, re-encounters Jack Horner and some other fable characters and artefacts. Feels over the top. The Polish version has every other song in the original and every other dubbed in Polish, even mariachi bands, all dialogue's in Polish only. In countries with original voices you'll hear Antonio Banderas as Puss In Boots, Salma Hayek Pinault as Kitty Softpaws, Olivia Colman as the mama bear and Florence Pugh as Goldilocks. Luckily, the story is consistent and, on the margin of the adventures, there's the tale of Perrito (mispronounced in the Polish dubbing) which is far more serious than the rest and absolutely heart-wrenching. A peculiar movie about a fable cat where the most powerful subplot is the one of a dog. I was crying my eyes out. The rest was too crazy to care. There's a brief spoken post-credit.

20TH DOCS AGAINST GRAVITY FESTIVAL

PILOT 9/11 - INTERACTIVE VR

Recommended. Even thought it's work in progress, it's wonderful. First you get a vertigo watching the NYC skyscrapers from above, then the cockpit and the frightening images of people in windows or on the ledge of a window hole of WTC. The interactive video is interrupted when you sit at a restaurant table one minute before it's hit by a plane. That's a cliffhanger for the complete work!

GOLIATH. PLAYING WITH REALITY - INTERACTIVE VR

Watchable. The interactive video shows the world in pieces as experienced by a schizophrenic. That's not disturbing. Going through it requires some silly arcade game playing though. It was also too quiet so hard to focus hearing external noises.

PLASTISAPIENS - INTERACTIVE VR

Recommended. The interactive video is fully immersive, letting you feel your hands are tentacles or see how your breathing changes the world. 

CONTROL NEGATIVE - INTERACTIVE VR

Watchable. The interactive video is Polish so it's Poles' favourite genre - a psychological drama. Protracted, often frustrating, even if creative. Black and white but graphically astonishing. 

MAFIA MAMMA

Recommended. This dark comedy is shockingly brutal and graphic from the opening but it's incredibly feminist and empowering. It promotes Krav Maga among women, ridicules drug companies, but most of all points out sexism in marketing, in corporations, families, virtually everywhere. And reverses the roles. To women's complete satisfaction. 

DUNGEONS AND DRAGONS: HONOUR AMONG THIEVES

Watchable. A Northern Ireland location provides evocative scenery. Chris Pine is a top actor, as is Hugh Grant  - neither looks hot in this picture. The movie is basically a string of adventures - it's evident it's game-based, with spotless CGIs, but predictable. At the same time you root for the bunch. There's a silly, though consistent with the content, mid-credit.

JOHN WICK 4

Recommended. Lots of flashy fight choreographies and locations, the hitmen world code of conduct - clearly my favourite hitman is back. The riveting dog subplot is John Wick's redemption. The Montmartre stairs scene will go down in history. The stairs, the duel, the vital post-credit are memorable.

MY FAIRY TROUBLEMAKER

Watchable. This cartoon is a Luxembourgish-German co-production, even if a kangaroo picture and a mention of a hummingbird may imply its Australian provenience. Tooth fairies go to school and need to pass an exam, a girl is bullied by her step-brothers in a city where a developer wants to destroy the last patch of greenery - all trite. But the villain wears a belt with a $ buckle, the fairies have flower hair and translucent rainbow wings and the story's engaging. A pleasant viewing. The naughty fairy and the worm appear along early end credits too. In Poland it's showed in Polish only, just the end-credits song is in English, but the Polish cast is listed aloud during it. 

JAN ENGLERT'S 80TH BIRTHDAY

A handful of stories Jan Englert told the audience:

At the age of 13 he acted in his first movie, "Kanał". He was picked from his primary school for Zefirek's role. Wajda used to say he had seen him riding a bike so cast him in "Kanał" which is not true because Jan Englert bought the bike for the money made from the movie. What followed were nearly 150 films, often for TV, and 200 theatre roles. He was e.g. in "Ojciec królowej", about which the actor says it was the first Polish swashbuckler. 

To Wajda "Katyń" was as if a tribute to his father. That, "Kolumbowie" ("Generation of Columbuses"), "Kanał" gave Jan Englert the roles where he didn't act but could embody people, act like he would have for real. He didn't fly to Katyń because people were divided into 2 planes, he came to the theatre and was greeted as if he'd come back from the grave. 

A British actor asked which actors he admired the most answered: "There are a few of us". 

Jan Englert acted in the times of 100% viewer ratings because there was 1 TV channel. For him though, viewer ratings come second or third in importance. 

Recently on holidays he heard in a restaurant there were no free tables, the manager came to him : "I'm sorry, we have young staff. You know that no one knows you here?" Well, I didn't recognized any of his versatile movie clips myself, to be honest.

He's a strong believer in organic work, skills, he's not "chorobliwy wielbiciel" (obsessed with) "gift". Asked: "Dlaczego jeszcze nie zrobił pan filmu?" ("Why haven't you made a movie yet?") though he was a fly on the wall learning how to direct, he explained: "Jestem bezczelny, ale nie do tego stopnia." ("I'm brazen but to to such extent")

He was cast for "Doktor Judym" because he could do an eye twitch which was later "not once on the screen".

He prefers theatre to movies because he gets a different audience every night in spite of one day of shooting being equal to one month's theatre work with benefits. He's successful but remembers his unsuccessful times. He learnt Silesian for "Sól ziemi czarnej" ("Salt of the Black Earth") - later at a conference in Warsaw: "Mi się najbardziej w tym filmie podobał pan Englert (...) bo tylko jego mogłem zrozumieć." ("I liked Mr Englert the best in the movie (...) "for he was the only one I could understand").

After 80 years he's ready for a new adventure: "oczywiście jestem rozwojowy" ("of course I'm developmental").

He finished off admitting he had fever of 38 degrees but he was adamant he was going to work the following day.

DON'T LOOK AT THE DEMON

Watchable. After a frightening title an ominous opening sends chills down your spine. Malaysian folklore in this horror brings to mind "ร่างทรง" ("The Medium") based in Thailand. And Warrens' cases too, since here the film crew and the medium Jules specifically visit genuinely haunted places only. It doesn't pretend to be any more than a regular, true to the genre horror. But it's truly scarily executed. Simple means, mostly body-contorting, lifting and crucifying possessions, but effective. Half an hour in, the supernatural layer gets the wonderful bartender scene and the down-to-earth storyline a romantic subplot. These, however, end quickly. With numerous possessions the action starts to falter and voice-altering back-arching possessions reach a yawning point. In the final act you repeatedly think it's over but it's then that the director decides to complicate the story, each turn bringing the demonic powers back. When the confusion becomes unbearable, the very last scene hits hard. Horror regulars should be satisfied. But if you expect to be gripped the whole time or find something new you'll be disappointed. 

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

SLAVA UKRAINI - Q&R WITH DIRECTOR BERNARD-HENRI LEVY

He had seen Polish PM Mateusz Morawiecki just before. 

This documentary is the second part, the first was "Why Ukraine?" 

Music was being composed specially for the movie live in front of the director for a few days, it "matches the highest possible suffering and the highest possible heroism". 

He sees it as a war between civilisations, two ways of looking at the world. The West never sees: the genocide of Armenians, Spain, Jews in WW2, Berlin 1953, Hungary 1966, Czechoslovakia 1968, it took 4 years to see former Yugoslavia hence one of his movies: "The Will To See". Poland suffered so much in flesh in the past, from totalitarism, also if Ukraine lost, Poland is 2nd in line, hence the quickest reflex. Without Biden's support Ukrainian heroes could have finished like the heroes of the Jewish ghetto. Russian people are like Germany in 1945: sleepwalkers who need to wake up, it'll take time. Only the collapse of the regime will guarantee safe Europe. If Putin or his people are free, the free world will not be free. He takes the risk to predict: "Putin and his entourage will be wiped out." "It can go quick. Ukraine will win. With the bravery of the soldiers and the help of the West." His film was presented in the UN in the first half of May, the screening included the global South. They were shaken with what they saw. Not sure if in one year people of Africa will want to be associated with the loser - Putin inflicting hunger with the grain. In 2007 he wrote a book in which he stated: Russia, Turkey, the Islamic fundamentalism, China will prevail. He's more optimistic now. The new world will emerge out of the defeat of Russia, the UN will be reformed, the transformation will be as big as in 1945, Europe will gain strength, Poland will have more credit within Europe, the US will be back. Kleptocrats like Putin will be more careful. China will think twice before invading Taiwan. 

All images in the film are new, only 1 TV archive was used, 99,9% are his. He was personally there. It's a diary in the real order. 

20TH DOCS AGAINST GRAVITY FESTIVAL

OVE RISHOJ JENSEN'S MASTERCLASS: DO WE REALLY CARE ABOUT THE FACTS?

The story should answer the following questions: A. What happens? B. What changes? C. What do I want to say? E.g. Bond and Marvel answer only A, arthouse only B. In documentaries we start with C. If it's author-driven, you piece it all together, explore the theme, the characters don't need to meet. We don't follow characters - we deliberately choose what goes in. Characters: motivations and intentions, how they evolve, goals, projects, deadlines and life learnings. From their specific setting a universally human dilemma, conflict, obstruction and how they evolve over time. What essential info at the beginning, later right info at the right time. Questions lead to new questions. Key scenes: must-have moments. What sets the story in motion. Connections to characters emotionally. He organizes workshops and is contactable by email: ove@paradiddlepictures.com. Viewers need to engage and identify with the film. Pitching: asap why these characters, certain emotions. Why am I into it? 

LUX FILM PRIZE DAYS

This year 5, not 3 as usual, movies were nominated. 

Östlund has a habit of telling film people about his next film so he does it a few hundred times to test reactions. His next is going to take place on a plane which is about to crash and when the entertainment system fails. When he heard in the past that his movie "La force majeure"  was nominated for an Oscar, he demolished the room. Apparently his protagonists mirror himself. 

TRIANGLE OF SADNESS

Recommended again. For the note of levity in treating all topics and catching more details, e.g. the double, or even triple, meaning behind "filthy rich", the donkey being animatronic, a bar code on Carl's skin like in "الرجل الذي باع ظهره" ("The Man Who Sold His Skin"), a glass rolling like in "Titanic", the wife of the Russian who "sells shit" getting covered in it and the wife of the grenade dealer asking: "is it one of ours?" A work of genius. Even if quotes are different in Polish and English versions.

20TH DOCS AGAINST GRAVITY FESTIVAL

A VR exhibition took place at Teatr Dramatyczny. David France gave a masterclass. Short films at the festival were the ones which didn't exceed 45 minutes. As for Polish films this year, 11 were presented:

1. "Apolonia, Apolonia" - the film won IDFA, the protagonist believes: "the only way out is to be very good", she speaks Polish, Dutch, French, she's "a collage of identities" as producer Gosia Staroń says. 

2. "Dziewczyńskie historie" ("Girls' Stories") - little girls on their upcoming first menstruation, editor Aga Bożym's directorial debut pitched at the festival 3 years ago.

3. "Fantastyczny Matt Parey" ("Fantastic Matt Parey") -  produced by Maciej Ostatek, on Maciej Parowski, from Tarchomin, who discovered Sapkowski and introduced Bagiński and Dukaj to each other. 25 thousand people had seen director Bartosz Paduch's previous "Skandal. Ewenement Molesty" ("Scandal") in cinemas in spite of the pandemic. Now Netflix is making a film about Sapkowski. 

4. "Leon" - on an extravagant artist who e.g. gave a dance of the senses at someone's wedding party, playing with his dick on plates. Having invited him, a festival organizer commented: "I hope he'll ruin our festival".

5. "Nie znikniemy" ("We Will Not Fade Away") - on the war in Ukraine, edited by Aga Bożym.

6. "Pianoforte" - premiered at Sundance, was centred round protagonists i.e. a few Chopin Competition participants, they  were festival guests too.

7. "Prawy chłopak" ("Polish Prayers") - premiered at IDFA after a few years making the film. The director is from Białystok. She's discovered many things are not black and white. She's been shooting a film on the other side for 3 years. 

8. "Skąd dokąd" ("In the Rearview") - on people affected by the Russian aggression. It premiered at this festival and at Cannes. The Polish title meaning: "Where from? Where to?" refers to the routine questions refugees hear: "Звідки? Kуди?"

9. "Solaris Mon Amour".

10. "Vika!" - on DJ Vika. "Life is a certain game." You can't always show how you feel." "Life must be pleasure, joy." "I can show the young you can enjoy being old". She wants the elderly to be "better educated, more open", live for themselves, not for others. She finds "independence, security" important in old age. "Kto się boi, ten nic nie zrobi" ("Who's afraid, won't do anything"). They obtained foreign funds for music rights. All the producers were motivated by their fear of old age. 

11. "W Ukrainie" ("In Ukraine") - showing e.g. children swinging on a colourful swing in front of a block with burnt out windows. The director travelled to Ukraine, to the places where he felt safe, taking a few trips over a year. 2-3 weeks after the start of the war he took humanitarian aid there and people back. Later he took trips to document, once on a front line. 

PRAWY CHLOPAK (POLISH PRAYERS)

Watchable. A story of a Polish rightist activist who over years turns left. He wasn't the most aggressive in the past either so the transformation doesn't shock. It's comforting it's young women and their feminist activism that have had such an impact on him. 

LYNX

Recommended. First, before the opening credits, a lynx is let free. The main story continues after the credits. You get to hear the sounds the lynx makes. Lynxes playing and hunting like cats, foxes playing like dogs, ermines, martens, roe deer, wildboars, owls, sandpipers, a rowan, a capercaillie, peregrine falcons, springing chamoises are cute but most importantly show parental love among animals. This beautiful documentary doesn't shy away from showing the lynxes' blood-covered snouts at meal times, killed ones: shot or run over by a car, moved away to reintroduce the species. They're so beautiful, so cuddly: the lynx, the fox, the roe deer - you wish you'd be one of them. They're also disarmingly tender parents. Awe-inspiring vistas complete the picture. It's all so beautiful, you just want to see it all over again.

14. PRZEGLAD NOWEGO KINA FRANCUSKIEGO (14TH SCREENING OF NEW FRENCH CINEMA)

LES PROMESSES (PROMISES)

Recommended. A social drama turns into a political thriller. First the mayor is forced to make several deals to do the right thing, then things complicate. Gripping. And makes you sympathetic to politicians - it's a hard job for incredibly tough people. 

TONIA

Watchable. Old-fashioned, not just because of the grainy texture of the film and the perfect recreation of the early 80s countryside reality, including the language and behaviours, but also, unfortunately, in the portrayal of the girl protagonist. Her speech manner is exalted, above her age, her thinking gullible. Marianna Ame as Tonia is made act pretensional. The movie tackles some serious issues: adults aren't always ready to parent, children want to have parents, even alcoholic ones. Some initial scenes, e.g. pissing, are revolting. The rest is alluring. A scene mimicking silent movies is acted remarkably well, looks fine in colour but is out of line with the rest of the period exemplified, among others, by surrounding you Al Bano & Romina Power's songs from 1982 and 1984. Still, it's undoubtedly original both in the alcoholic plot and form. The lead actor, Adam Bobik, shows off his acting chops, for all we know he may well be a character transported in time straight from the period.  

تفریق (SUBTRACTION)

Watchable. Slow-paced but gripping. Are the lookalikes real life? Hallucination? A supernatural happening? At some point it becomes clear which possibility it is. The thriller is a bit hard to follow since you need to remind yourself all the time who is who and what the connection is. While the finale is consistent with the protagonists' personalities, it's also a bit simplified and predictable. However original the initial idea is, it fails to shock.

Seen partly online from the distributor's screener, fully cinematic reception might differ. 

R.M.N.  

Watchable. Set in Romania, on the crossroads of the migrant workers' trail between Austria and Hungary, it deals with how environmental, political, social, financial issues clash in a hamlet in central Europe. In one couple the gender division is typical for Poland too: the woman is leftist, the man rightist. Common hypocrisy is presented spot on, the main problem is it's publicity rather than a movie. What and when the boy saw in the wood, the father's tragic decision and the very last bear scene are symbolic rather, never explained within the film. 

KICIA KOCIA MOWI: DZIEN DOBRY!

Watchable. The kitten girl is adorable, the tales educational and perfect for young children in this capacity. Animated in warm colours and providing simple information about how to act towards people, how to eat healthily or what life in a spaceship looks like it's highly valuable. Yet it's not a 40-minute movie but a series of short cartoons. And the tales are simplistic so me and some children in the audience felt bored at times. 

THE MAGIC FLUTE

Watchable. Roland Emmerich is the executive producer. The movie was shot in Salzburg and a few other Austrian locations, as well as London and Tenerife, in Atmos - which ensures sound clarity but is never surrounding in this production. Not even the best performances are offered. Though a movie it is. Definitely not a filmed opera. On the other hand, the style of visual effects and costumes is modern and in this supposed Mozart tribute a major role is played by Jackson Five's "I'll Be There". Real life locations match the picture and are awe-inspiring unlike the professional but run-of-the-mill fantasy worlds. Worst of all, though, is the fact the Polish distributor marketed it towards children instead of classical music afficionados - all were adult at my screening. 

RENFIELD

Recommended. This dark fantasy comedy with Count Dracula is actually less gory than, say, recent "Cocaine Bear". It's zany, fast-paced, with exceptional fight choreographies, great CGIs, some fun effects like an X-ray shot during a fight, top-notch acting, most notably by Nicholas Hoult as Renfield, Nicolas Cage as the vampire and Awkwafina as a police officer. The story takes fighting your demons literally and makes fun of therapy and coaching. Music is all fun but barely noticeable in the fast action, it was only in the credits that I realised how great the soundtrack list was. The whole thing is cracking. The early end credits give the makers' names most inventively - a masterpiece in its own right.

ROVING WOMAN 

Watchable. She's upset and keeps shouting - justifiably - at her fiance, she's clutching the steering wheel nervously, she's listening to country music - these protracted scenes fill the first half an hour of the film. The only interesting pictures are the rolling hill vistas as she walks off in the beginning. The music isn't to my taste either. Then it turns more engaging as it becomes even more disturbing than being kicked out of the house by your beau. While the picture scripted by a female + male duo (actress Lena Góra and director Michał Chmielewski) is thoroughly plausible, I find it unsettling that Sara succumbed to the lascivious blackmail and ignored subsequent jibe of the three men. While her later voluntary naked swim clarifies she didn't care much, this type of protagonist irks me. But the movie grew on me, together with the variety of people she encountered on her way. The lateral notion that it usually takes more than 5 years to get famous sounds smart but it's just one line making you think once the movie ended.

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

SHE IS LOVE 

Watchable. A great trio of actors, two of them: Sam Riley and Marisa Abela doubling as fantastic dancers, the third, Haley Bennett, resembling young Renée Zellweger, attract the eye. While the set-up and initial scenes are fun and the whole thing is colourful and visually pleasing, it falters and you end up listening to the former couple's maudlin songs. Two many songs - sung or listened to. At least lines are fun till the end, e.g. "Be good. Or if you can't be good, be careful."

 

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

DIE SCHULE DER MAGISCHEN TIERE (SCHOOL OF MAGICAL ANIMALS)

Watchable. The animals and kids and even adults are endearing. The fox acts adorably like a dog. The story's fun, the protagonists pleasant. But frequents songs, in Polish - as annoying as the spoken dubbing, detract from the pleasure.

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

BLUEBACK

Recommended. A beautiful, even if sorrowful, Australian drama about protecting marine environment. Shot in Bremer Bay, with wonderful ambient music, action keeping you in suspense and emotions as deep as the blue see. In spite of some dramatic events, the movie is quiet and highlights the idyllic life on the western coast where houses are far apart, people enjoy each other's company and love their natural environment.

DICHT BIJ VERMEER (CLOSE TO VERMEER)

Recommended. Opens with a puzzle-like assembly of the pictures of his works spread on a table. Next a curator says an exhibition needs to change your worldview. Then part of the mystery of Vermeer is presented: Rembrandt left 80 self-portraits, Vermeer none, there's just one painting where his back is visible. What follows, is a documentary gripping with the investigations whether some paintings are Vermeers or not and profoundly touching as you see the art historians' love of their jobs. Smartly edited.

すずめの戸締まり (SUZUME / SUZUME NO TOJIMARI)

Watchable. A gripping, enigmatic - pieces of info are revealed gradually to the girl protagonist and the viewer alike, sensitively scripted anime with world-crossing and delightful music. Japanese lifestyle and landscapes are recreated almost life-like, truly Japanese animation style. It's tear-jerking at times since it deals with a child losing her mother to a tsunami. The first half is set in the Prefecture of Miyazaki - is it a coincident a famous anime creator bears the same surname as the region? Luckily it has a subtitled version in Poland so you can hear it all: the dialogue and songs in Japanese. The only problem is not all of the plot is comprehensible. There's a series of early mid credits and then a lovely song till the end. 

BEAUTIFUL DISASTER

Recommended. OK, the girl is a poker champion, the guy is a master fighter and they both meet at college. I was skeptical. But the movie is light, funny, hilarious at times, raunchy but teenage-appropriate, with strong female and male leads and an instruction how to start a relationship. I did laugh out loud several times and that rarely happens. I loved the scene where he's despairing and says he's brought a "stray", to which his flatmate remarks: "it's (name), our neighbour's cat".

14. LGBT+ FILM FESTIVAL

GAY LOVE AFFAIRS (SHORTS)

The 6 short films were: 

FADO MENOR

Nearly walked out. Awfully slow and no idea what it was about. 

¿Y SI UN DIA YA NO ESTOY? (EVEN IF SOME DAY I'M GONE?)

Nearly walked out. Awfully slow.

LES DIEUX DU SUPERMARCHE (GODS OF THE SUPERMARKET)

Watchable. Engaging documentary form. Jezus on the cross as a sex fantasy is a peculiarity of the gay genre. It wouldn't have crossed my mind.

STAY

Watchable. The only film in the set with a consistent story and fully comprehensible. 

LE VARIABILI DIPENDENTI (THE DEPENDENT VARIABLES)

Nearly walked out. Awfully slow and no idea what it was about. 

LES MALADIES EXTRAVAGANTES  (THE EXTRAVAGANT ILLNESSES)

Nearly walked out. Awfully slow and no idea what it was about. 

EISMAYER

Recommended. Movies based on actual events tend to be the best. This full-length Austrian military-based film is one of them. It's a comedy drama. Or maybe a tragicomedy because the guy's got cancer. But that's not the most important. It's a situation comedy about two people meeting and falling in love against all odds. Delightful banter between the two protagonists guarantees lots of fun.

To me this is predominantly a festival of movies about love and it has a wonderful atmosphere. Additional events varied, some were great, I danced and had fun, not all were to my taste, but each was to someone's taste. 

VANSKABTE LAND/VOLADA LAND (GODLAND)

Switched off. It's slow and uneventful. Even when someone drowns, the characters' relationship before was so lacklustre you don't care.

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

LES TROIS MOUSQUETAIRES: - D'ARTAGNAN (THE THREE MUSKETEERS: D'ARTAGNAN)

Recommended. The royal palace was set at the Louvre at the time and the movie was shot right there. While historical places abound, it's all filmed on cloudy or rainy and muddy background. Still, the queen's lace looks so sturdy, you can bet on historical accuracy. Eva Green's figure is spine-tingling as the villain. Mark Harris is quite convincing as Buckingham. The action, puzzling from the opening, is gripping as you gradually realise who is who and discover their purpose. The first scene is unusual and more modernly scripted than usually in the genre, with d'Artagnan digging himself out of a grave. The rest is more traditional in style. Part one leaves you with suspense. There's a mid-credit. 

LA LIGNE (THE LINE)

Watchable. A woman finds herself in strife with her mother and, to some extent, with the rest of family and friends. She's brought up short by law and the family literally painting a blue line.

The opening scene is ludicrous: aggression in slow-mo and with slow-paced classical music. The rest is a typical French drama - slow and with music of varying quality. Exaggerated acting, not only by Valeria Bruni Tedeschi, implausible characters mar it further. Verbal aggression within the family quickly makes it clear how things must have escalated. Ensuing ravages and behaviours aren't explained but, with exaggerated expression of all four actresses and mundane developments, I didn't feel much like guessing the underlying psychological processes. Basically, the story unfolds with quite clumsy scenes. Lacklustre on the whole.

حورية (HOURIA)

Watchable. An Algerian drama where two dancers' stories are a ruse to present a vast array of social and combined political issues of the country. What you get to see is a group of incredibly strong women struggling with adversities and you get to hear their back stories illustrating their homeland problems. Unfortunately those stories are told, verbally, rarely and sketchily shown. Dance scenes rely more on camerawork and editing than on the women's skills, especially the bellydance doesn't not look professional, rather like an actress acting dancing than a dancer doing the dance. I loved the leaning against the wall instruction scene instead - a little gem.

늑대사냥 (PROJECT WOLF HUNTING)

Recommended. The movie's like "Universal Soldier" taken a level higher - flesh and blood of the transformation, never as neat and clean as in American flicks. Of course it's the Japanese who are guilty of creating the monster. The flick has a dynamic, consistent plot and is expectedly shockingly brutal. It's so gory that after an hour of bloodshed I had the impression I could smell the gore. Top-notch make-up and visual effects ensure it's all riveting. You need to watch closely - constant back stories or twists of action are lucid but you need to keep up with the pace of the plot. The movie's Korean, you know.

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