herimesquida

Well, we are apparently in the minority but I am one of those who found it quite a bit of I actually found the staging rather brilliant as well as the interpretation of "Dakota Fleming" and the very beautiful photography. We can notice how much there is a big difference between the tones used for the forest with always dark, dreary colors that accentuate the impression of insecurity, terror and constant danger and those inside the shelter, warm colors, mainly orange, giving an opposite feeling of comfort and protection), Good work that makes us feel different, very contrasting sensations.

And then the filmmaker chooses not to show us the famous lookouts of the forest until the last part, which gives us a feeling of very intense intrigue. We appreciate that the terror used is mainly psychological and that she knows how to play with shadows, sound, elements and the magic of the script rather than with jump scares.

It is also possible that beyond the macabre fairy tale, these characters, who neither eat nor drink throughout the film, are simply a kind of symbolic resource to talk more deeply about the protagonist, her guilt and her trauma and the mythology invoked a metaphor.

This way of seeing the film would explain the apparent inconsistencies... The truth is that with The Watchers we find a product very much made in Shyamalan, a film with touches of psychological horror, thriller and quite a bit of fantasy and of course those final twists so typical of the director. Ishana reminds me of the young "Brandon Cronenberg" who borrows a lot from his father in his works.

A psychological horror film that knows very well how to use Irish folklore to enhance an interesting scenario.

A unique director? Without a doubt. A unique work? Oh yes! An experimental work too, but at the same time not difficult for the audience, in which the physical and the neurological merge.

A fantastic melodrama that is exciting and precise, provided that one is able to watch a work that goes slowly but that if one makes the effort to get into it, one will not forget.

Intelligent and sagacious, "En décalé" moves with the same clarity that it surprises.

In addition, at the same time as a speech on cinema as an echo chamber, the film offers a beautiful study of the main character superbly interpreted by "Marta Nieto".

Of course, for the film to work, very effective work on sound and synchronization was needed... That's good, since that's the case: Goya for Best Sound. Gaudí Award for Best Sound.

Paolo Sorrentino, winner of the Silver Lion at the 78th Venice Film Festival, said on this occasion: "Naples is a city of promiscuity: you can find everything there: eroticism, beauty, the sacred and the profane" Silvia Brunelli seems to fully adhere to this description if we judge by her first film: "La santa piccola" Because it is indeed these four elements that mix together.

The beginning of the film is moving and funny: During a religious procession led by a dove crashes on the statue of the Madonna and falls lifeless to the ground. A little girl with light eyes and blond hair approaches her, caresses her and the dove takes flight, for everyone it is a miracle.

The film begins with an irreverent combination of hymns: the one to the Madonna and the one to the Naples football team. The grammar of the film is built from these first moments: it will navigate between superstition, religiosity, profane and eroticism. The Neapolitan setting brings a good touch of realism, also thanks to the use of dialect.

If, indeed "As if by miracle" tells the story of the consecration of Annaluce as the new object of veneration of the neighborhood, (based on a form of religiosity contaminated by superstition and the need to believe in the supernatural) we will quickly understand that the real protagonists of the story are a couple of friends in their twenties, the most reluctant to give in to the collective hysteria towards the "miracle child". The first is Lino (Francesco Pellegrino), Annaluce's older brother, for whom he represents a protective and affectionate figure, (he is the one who takes care of his little sister, much more than her mother is able to do, and he is the one who promises her "a clean and beautiful house", dreaming of economic possibilities still inaccessible). The other, Mario (Vincenzo Antonucci), works as a mechanic and shares almost all his free time with Lino, including football matches, motorbike rides and nights at the disco.

Thus, the feature film alternates the holiness of little Annaluce, locked in her room with warm and bright tones in front of a Madonna with a halo that lights up with a blue neon and the carnal tones of the bodies of Lino and Mario they are studied, analyzed, by a sensitive gaze whose aim is not enjoyment or beauty, but to expose the vulnerability that hides behind their virility.

Because Lino quickly finds himself torn between his sense of responsibility towards his family (starting with a disoriented mother who can't provide for the family) and the new perspectives he discovers: Thanks to his charisma and his seductive allure and after having dragged Mario into a threesome with a beautiful woman who was excited by it, he discovers that he can sell his charms at nightclubs.

Mario, calmer and more introverted and who doesn't know how to say no to Lino, agrees to accompany him in these sexual threesomes, but he quickly realizes that he feels an intense attraction to Lino: an attraction that he feels he can't reveal, but which is accompanied by an increasingly obvious tenderness. From a brotherly camaraderie, their relationship evolves towards something more ambiguous and undoubtedly deeper; and Mario's passion for his friend, his progressive conscience, acquire an ever greater importance in the economy of the film, but with a spontaneity that avoids clichés and never seems didactic.

Francesco Pellegrino and Vincenzo Antonucci, respectively Lino and Mario, are excellent even in the physical moments, exposed and uninhibited which gives them a striking credibility; these carnal "excesses" appear at times almost sacred.

Francesco Pellegrino draws his Lino with the right mix between a slightly audacious confidence and a discreet feeling of fear and perplexity, destined to take over as the finale approaches; while Vincenzo Antonucci, with an interpretation entirely based on interiority, lets the secret desire and the tangle of feelings in Mario's soul emerge naturally, relying on a silent but extremely explicit expressiveness.

The sacred becomes superstition, the profane becomes sacred love, sacred hymns alternate with songs alternate with the chants of the Naples stadium, realism gives way to kitsch.

#henrimesquida #cinemaetlitteraturegay.

After being the scream girl in "X", then psychopath in "Pearl, the character of Maxine evolves again and becomes a slasher movie heroine in this third opus.

In this last part Ti West offers a playful evocation of some of the darkest and satanic legends in the history of Los Angeles and a particular reinterpretation of cinema through a trashy lens of the 80s with a Mia Goth once again imperial.

Effective in its cross between a success story, a 'psycho thriller', a horror B series and a satire on Hollywood, it is a treat of neon, red lights and eyeshadow. It is a pure aesthetic pleasure. Where we knowingly find a lot of Brian de Palma from the "Body Double" period.

"Maxxxine" celebrates cinema, criticizes its excesses and offers a memorable end to this trilogy that will undoubtedly mark the horror genre.

I found the film A brilliant film: Ti West plays with the 'metal' aesthetic, the rawest black, body horror or giallo (Ah those leather gloves from "Night Stalker" (which really existed) and to compose a delirious and suggestive metaphor on the American dream and confirms by his universe of violence of survival and ambition that the filmmaker is one of the most creative voices in today's cinema.

The beginning where we see the effects of a hangover, the scene where Marilla discovers who she is, the woman in the broken photo, (with a clever use of voiceover) or the way in which the contrast of ways of seeing the world is presented are all excellent moments.

Like all good films, this one benefits from an excellent screenplay (by George Wells) which was crowned by an Oscar. Misunderstandings, battle of the sexes, the voice and sometimes five points of view which alternate to share with us the feelings of each of the characters and their difference in perception of the same events (the two protagonists, a theater director, a sexy showgirl and a boxer who was made stupid by a match, Maxi Stultz who alone is worth the trip).

All the art of the wacky comedy, with a frenetic rhythm, whose passage of time only rises without making a breach, it smells of the classic and it is.

Finally I would like to highlight the presence of "Jack Cole" in the role of Randy Owens, in fact a great American choreographer, brilliant in the final fight scene). Cole marked a before and after in musicals, responsible for example for the famous musical number of the Marilyn Monroe-Jane Russell duet of "Gentlemen Prefer Blondes", There is a sequence that marks the reactionary era in which the film takes place: Gregory Peck's character makes a comment on Randy's lack of virility, implying that he is gay, and he defends himself by showing a photo of his four children. Today it would be very politically incorrect and rightly so, But this is the 50s.

In real life Jack Cole was indeed Gay.

A clever comedy, very funny, very fresh and full of moments of laughter, with wonderful plot twists.

The film benefits from a very striking "old school" visual, Schultz is a filmmaker visibly more interested in the twists and turns of human psychology than in smearing gore.

And no, it's not intellectual cinema, as some of Cronemberg's films can be, which is not a criticism, even if it's hard to follow in the first part... It's more of a low-budget hieroglyph, in the vein of 'Primer', 'Pi' or even 'Memento'. It's cerebral, it's fair to say, fragmented and with a very precise focus. And pleasant.

The plot is ultimately quite simple once you understand the principle. The film is intelligent and works well.

The director dissects a marital relationship in a rather surprising way through the wife's trial after the husband's fatal fall. (...) an emotional puzzle woven with enormous originality" I have always had a weakness for trial films and this one is unlikely to be an exception. Thanks to a succession of exceptionally well-written interrogations and depositions , its two and a half hours of images literally fly by.

But here the trial also serves as a narrative pretext for an investigation into the relationship between the couple of writers: their fears, their frustrations and their conflicts. The resentments, the marks of the past that could not be eliminated, the open wounds without suture, the cracks that have not been filled, all of this finally materializes in the court, through an almost theatrical structure which is reminiscent of other legal dramas in the style of "12 Angry Men" Justine Triet directs with great mastery, creating an atmosphere of tension and mystery. His direction is precise and captivating, guiding the story and performances with a keen sense of rhythm and detail. Another strong point is the editing, with notable treatment of the insertion of ellipses, generally necessary, and which help to better understand the story.

Thus, when faced with an extremely ambiguous and strange situation, it is the "fantasy" that comes to the rescue, which plays a fundamental role in stitching up the deep holes in a situation that is up to a certain point incomprehensible. At a given moment, the viewer feels how "Triet" filmically dissolves the gap that separates reality from literary fiction: are Sandra's works really strictly fictional? Or does, from a Lacanian point of view, the truth (his truth) have the structure of a fiction? The constant allusions to the writer's texts during the trial should be understood as legal attempts to determine a circumstance from which only conjectures can be made.

Justine Triet thus offers elaborate, even explosive goldwork, made of suggestive ambiguity, mystery, even perversion, enhanced by the perfect work of "Sandra Hüller", Swann Arlaud" and "Antoine Reinartz", who makes office of prosecutor.

An elegant, sarcastic, slow-paced film that dissects all the "what ifs" in an attempt to clarify a truth that will never be completely clear.

If the low-budget special effects can be seen as an asset because they give the whole thing an expressionist side, just like the shaky jazz score, the whole thing is boring because not much happens and there is nothing has no suspense or tension.

The very poorly structured story becomes annoying. It's supposed to be a romance, but the characters don't meet until the 42nd minute of the 87 minute runtime. They are only on screen together for about 20% of the film. This also means that the story is told from two distinct points of view, which alienates the viewer and requires expending a lot of energy to achieve a strong identification with either character.

The actors do a decent job, there is a touch of humor that I would like to believe is intentional... (Hank's recurring hallucinations of a rap trio who torment him, a gag that comes up twice and extends over 10 minutes).

When watching certain feature films, and they are quite rare, we would dream of being in the place of the protagonists or better, with them. Experience what they experience, share their moments and be an integral part of their human adventure.

Above all, these are films that are part of reality, made of stolen moments, films that sketch life and allow us to escape from it. "Summertime" is clearly one of them.

At the end of the screening, we have the pleasant feeling of having spent a vacation with the characters, of having lived for the duration of a film a month of weightless moments and that time has stopped for a fraction of second so that we can experience a sweet dream. When the lights come back on we want it to continue and we find ourselves face to face with reality, accompanied by a slight feeling of nostalgia which makes us feel blue. Like the day after a nice party of sorts!

Here, the production is Italian but the film is largely set in the United States, this film allowing the filmmaker a bridge between the two countries.

We are not really in an overly sweet sentimental bluette but rather in the accurate chronicle of a summer like no other.

The film moves at breakneck speed and you'll be left wanting more.

The camera in "Muccino" knows how to be aerial, far from flatly filmed romantic fictions.

A quartet to which we really get attached, trying to guess what will happen between them and with what combination. But we appreciate that it all remains realistic and down to earth, just a magical period, an enchanted interlude for four people who will get to know each other and learn to love each other. We also like that the conclusion is more bitter than expected but ultimately much more insightful than usual.

The actors are astonishingly natural and in perfect symbiosis. It may not be a masterpiece but certainly a sweet and refreshing film.

A true bubble of happiness just waiting to be consumed.

The first day of this saga, unlike the two previous films, takes place with a different focus, first on the location, since it moves from the isolated house, to a big city, neither more nor less than New York, and because we practically only follow one character (two in reality) who experiences this whole catastrophe with a cat.

The film had to take up the challenge of making a prequel with aliens that we already know, therefore without a surprise factor: it succeeds: It's scary, dark and we perfectly feel the immense fragility of the characters in the face of the threat that threatens them. Circle.

We also had to succeed in making us sympathize with new characters and make their story interesting to us (as did the family stories of the two previous parts) and on this level it was also successful. With the psychological backdrop no longer of family bereavement but of incurable illness and the end of life as well as human bonds and compassion).

The direction of "Michael Sarnoski" is as impeccable as it is impactful, a pure monster and horror film where even the jump scares are welcome where the continuous feeling of imminent danger that the characters experience at all times during the film is palpable.

All led by "Lupita Nyong'o" and "Joseph Quinn", both excellent.

Ultimately, it is a worthy prequel, a beautiful horror story marked by tension, chaos and unexpected doses of humanity, entertaining and extremely functional that keeps the level of the saga intact without repeating itself or resorting to following easy.

Jean-Claude Monod is a French philosopher.

Eighteenth century. Anne, growing up as a girl, must "change her clothes" because of her attraction to women. Anne (Marie Toscan du Plantier) was born in 1742 with both female and male genitalia. The child grows up in a convent and then, as a teenager, is asked to wear men's clothes.... When he became a man, he married but was soon condemned as a defiler of marriage.

The true and moving story (which came to us thanks to the memoir of the lawyer that "Michel Foucault" studied in his history of sexuality) of Anne Grandjean, born intersex, and her resounding trial, which still raises questions today today all our certainties. There is, one suspects, no coincidence in the fact that the director is interested in this very fertile period in philosophical matters with the famous Enlightenment of thought, where paradoxically homosexuality, hermaphroditism were severely repressed, even the death penalty for some. In this sense, Un jour fille is a very current film, very contemporary in its intentions, in a period where the question of social, cultural or sexual identities has never been so present at the heart of the debates.

Note of intent from Jean-Claude Monod: I discovered the story of Anne Grandjean through a quick mention by Michel Foucault in his course at the Collège de France, "Les Anormalaux", which piqued my curiosity. I searched for and found the Memoir of the lawyer who, in 1765, had pleaded for Anne Grandjean on appeal, and who to do so reconstructed her life. This story immediately fascinated me.

"Our decision was to avoid two easy ways: to make this story a melodrama, and to make its main character a rebel. Anne / Jean-Baptiste is certainly upset by the transformations imposed on her, but she can first oppose them (in front of her father) only with tears, then (in the face of the village's hostility) escape. She, however, evolves, protests against the fate meted out to her during the trial, appeals... Violence certainly falls regularly on the character but the story which is "saved" or relaunched by a certain optimism of the Enlightenment, ultimately embodied by the lawyer Vermeil. ". "Jean-Claude Monod creates a film full of ethics and moral philosophy while promoting the truly romantic journey of Anne Grandjean. The young woman shows a determination for extraordinary happiness, while trying to cope with what we today call intersexuality. She refuses political speeches on the subject, her main ambition being to live out her love for her wife and earn a decent living as a seamstress. Despite herself, she becomes Jean-Baptiste Grandjean, which gives her the right to marry. The new man devoted himself to the theater, where he discovered the works of Marivaux among others, who already promoted cross-dressing. » (see Read).

Marie Toscan shines in the role and if we clearly perceive the economy of means compared to the usual productions of this scale, the management of this minimalism of the sets, the costumes, the writing or the acting of the actors is quite skilful so that it is in no way detrimental to this ambitious and generous work.

"The tragic fate of Anne Grandjean is a powerful reminder that moralism is never far away in the way a society approaches the question of difference. More than ever, the feature film urges us to immerse ourselves in the readings of Voltaire, Montesquieu or, further upstream, the plays of Molière or Marivaux which, already in their time, forcefully posed the sensitive question of gender and freedoms public". (To see, to read)

The story takes place in 1982 in a Sicily full of prejudices and is inspired by a news item from the 1980s, the crime of "Giarre".

The film is dedicated to the two victims, "Giorgio Agatino Giammona" and "Antonio Galatola".

Nino is the eldest son of a family of fireworks manufacturers. He has just successfully completed high school and his loving family's gift to him is a moped on which he happily rides around the Sicilian countryside.

Gianni is a boy his age who returns from a reformatory and lives with his mother and stepfather, who gave him a job in her workshop and a roof over his head, but who treats him with constant contempt, going as far as 'to violence.

There are rumors in town that Gianni is gay and he is being harassed by the thugs who spend the day at the bar across the street.

Gianni and Nino meet following an accident. It's the spark that ignites a beautiful friendship that could lead to something much deeper But when rumors spread, the two families will turn against them: the two boys decide to face intolerance with courage.

The filmmaker takes all the time necessary to tell the story of the birth of this first love, using a classic visual grammar that highlights looks, hesitations and the magmatic flow of gestures and shared moments. Nino and Gianni create a strong and spontaneous alchemy that effortlessly engages the viewer's gaze, a harmony that overflows beyond the limits of the scenes and permeates the entire tone of the film like an aura. This loving harmony that shines like a celestial body, a solitary star in a hostile firmament, something beautiful but ephemeral like fireworks ("Fireworks" is the English title of the film and it is metaphorically the work of the father of Nino (whom the two teenagers will take care of during his illness) who is destined to disappear at any moment and who nevertheless persists, cannot stop shining despite the constant refusal of a space in which to survive.

This love seeks a possibility of recognition within a society that is maternal and passionate towards what it knows, but merciless towards what it does not yet understand. Nino and Gianni do not have this possibility: perhaps because the moment had not yet come, perhaps because of the responsibility of those who should have known how to love them unconditionally.

The film constantly walks the risky edge of melodrama but always manages - and with grace, with tenderness - not to fall into rhetoric or pathos. At the same time, Stranizza d'amuri also lives in everything it allows the viewer to imagine: the love of Gianni and Nino is dazzling, very short like a summer night; everything else, we imagine. Fiorello leaves it to the viewer to imagine; the love of Gianni and Nino is dazzling, very short like a summer night; everything else, we imagine: Hence the choice of the last scene which may displease but which I personally found successful.

For his debut Giuseppe Fiorelleo offers an eminently moving and sincere film, sober and of incontestable social value which introduces us to two young actors, "Samuele Segreto" and "Gabrielle Pizzuro" who deliver a magnificent performance (which reminded me that of "Jérémy Gillet" and "Julien de saint Jean" in "stop with your lies).

Beautiful, very beautiful cinema.

With a tiny budget, Stan Winston managed to create: a terrifying monster and a macabre B series, with a sorcerer-demonic context of great efficiency and agility. It is very likely that thanks (and not unfortunately) to these limitations,Pumpinghead is today the cult film that it is. Stan Winston was able to compensate for the lack of budget by giving the film elements which, even if they were not outrageously spectacular on the big screen, gave the film a surprisingly unhealthy, disturbing and dark air. This is the best thing about the film.

In any case, and although it is a second-rate horror film, the film also tells us a good story which revolves around repentance and sacrifice which is as captivating as it is depressing, among other things thanks to the incredible decor and decor. This is precisely the second most important element: its setting and photography worthy of any "great film" of the time.

Convincing "Lance" Henriksen added to a fantastic creature that deserves to be on the podium of the best monsters created by Stan Winston Studios for one of the best options that the vast catalog of the B series of the 80s can offer.

With his first feature film, the young Argentinian director Martin Deus offers us a beautiful story of friendship between two teenagers. A priori everything contrasts these two young people with very different family backgrounds. One, "Lorenzo", is the archetype of the wise, reasonable and studious boy while "Caito" is dark, introverted and reluctant to accept the established order in his host family. Their chaotic journey from one to the other will gradually lead them to discover their own secrets and ultimately to grow together. The viewer is subtly taken into this story, filmed with great finesse and delicacy.

With remarkable sensitivity this film shows us the relationship between two very different boys who collide, complement each other, become friends and where a feeling of love seems to emerge (at least in one of them).

Director Martín Deus approaches the story with sincerity, constructs dialogues that everyone could hear at home because they are credible and natural, and surrounds the adolescents with a cautious mother but with the openness necessary to understand the non-visible signs of all, and a father with the necessary presence in the house to support the growth of an adolescent son and that of the boy he takes in.

With small openings onto the exterior spaces that contrast with the interiors of the first part of the film and a choice of songs with lyrics that echo what is happening, "my best friend" grows as the screening progresses.

The Patagonian landscape perfectly complements the theme, which is also that of the transition from adolescence to young man (this universal theme), and that of coming out not necessarily from the closet but from the enormous set of prejudices (sometimes only outlined in the film) that society builds around us.

#henrimesquida #cinemaandliteraturegay.

The rather disappointing series has little to highlight.

The fairly flat whole can be looked at without pain or glory, without standing out in any way but without being a disaster in anything specific either.

A product that once consumed we forget it, with the same speed as we consumed it.

The first two episodes are clearly aimed at getting the most out of a family drama. The mystery spills out the data little by little and this general tone will be present throughout the series. It is a work that is not very energetic, sad, melancholic, almost "depressed", we feel it in the general rhythm of the editing: it seems heavy, sad, as if the characters were having difficulty lightening the burden of absence. This feeling, since it involves mourning, is appropriate. The lack of the loved one results in flashbacks that function as memories of the father and daughter and a parallel montage that goes back in time and where the adventures inside the special station take place.

In the last two episodes the mystery begins to take shape and we veer into science fiction. Science fiction but the priority always seems to be family drama. What happens inside the ship takes on a narrative validity that fits with what they discover in the present, even if the way the father puts the data together sometimes seems... too intuitive. The viewer must accept that everything is due to the love with which the three family members communicated with each other.

Unfortunately in its conspiratorial aspect, the series is very banal and is not developed sufficiently effectively.

As for the ending, it seemed to me to be a total failure, not very credible and almost laughable, even though it was all about forgetting science fiction... I wonder what the intended target was: drama fans, science fiction fans? The mixture does not take and must have disappointed both.

With this new film "Haigh" presents us with a sort of dreamlike extension of his rightly celebrated "Weekend" (2012).

It is a painful and relentless, romantic and thoughtful film which flourishes in the mysterious and the poetic, on the themes of mourning and love (family, sentimental, sexual).

It's a somewhat confusing and tangled emotional puzzle, but there are matters of the heart that reason doesn't understand: We can simply let go and enjoy it like a metaphysical hug. A refined cocktail of melancholy and romanticism with fantastic actors, washed down with the enveloping music of "Pet Shop Boys", "Frankie Goes To Hollywood", "The Housemartins", "Fine Young Cannibals", "Alison Moyet"... I found it very beautiful... And I didn't need to rationalize and understand it (even if in the end I did). The great pleasure that this work gave me is due to the quality of the dialogues between the characters ("I know how easy it is to stop taking care of yourself"), to the music, to the images, to the looks (and what looks!) and the gestures that accompany them.

The film deals with the pain of loss, the relationship with parents, self-acceptance, the unresolved trauma of the threat of AIDS in sexual awakening and unhealed fears and wounds. But the most important theme addressed I believe is eternal love. A love that happens in the universe, when you are no longer there... Thanks to moving cinematography and masterful performances from the star couple, Andrew Scott (Adam) and Paul Mescal (harry) as well as "Jamie Bell" and "Claire Foy" (Adam's parents), the film plunges us into a torrent of emotions, from joy to sorrow, leaving us to reflect on the fragility of existence and the importance of cultivating meaningful relationships. In the end, he leaves us a moving message: loneliness kills us, let us let ourselves be loved and fight for love, because it is in the embrace of the other that we find true fulfillment and happiness. Sense of belonging in this tumultuous world.

The Spanish director is very critical this time and he is fundamentally right: Venice, this jewel, has become an amusement park; it is the tragedy of mass tourism that is being targeted. Hence the idea of making Veneciafrenia, a slasher, this subgenre of horror in which the murderer, generally with well-founded reasons for having become one (or, at least, with some defense for his revenge), kills by the most savage methods young people who only think about having fun, fornicating, drinking and taking drugs, without looking for a moment at the environment in which they live or at the people or things that surround them. A slasher which, as the genre dictates, has the main aim of entertaining.

However, the film only half succeeds. The contrast between the classic Venice of the carnival, baroque, colorful and disproportionately brilliant, and the vulgar attitude of this gang of thirty-something Spaniards, three women and two men with youthful pretensions and adolescent stupidities, who stumble upon the worst journey of their lives, is too strong for us to believe it. Giallo's notes in the treatment of colors and the nuances of certain characters, confer a certain welcome ghostly vision to the whole with the obvious reference to the great "Don't turn around" by "Nicolas Roeg" from 1973, as a model to follow to present not a beautiful, sublime city, but a city that is frightening, because it is old, ugly and decadent.

"Veneciafrenia" ends up failing on both fronts: that of the rejoicing of terror, and that of the critical vision of the fact of society which was nevertheless an excellent starting point. This does not prevent some beautiful flashes like the opening credits, truly magnificent. The terror based on Opera with the excuse of the character of Rigoletto was also seen well. The black humor works at times but is poorly balanced with the terror of the Giallo. All of this lacks relevance and ambiguity: the general tone is strange due to the different parts that never really stick together (between the half-funny gore slasher and the satire-criticism with a certain message) and a disappointing ending.

It's well filmed, we recognize the touch of "De la Iglesia", but the film lacks a little this frenzy which, ironically, sometimes blurs certain works of this author. The protagonists are walking clichés. The villains much more interesting.

Barely an amusing film where we feel that "Veneciafrenia" is missing out on something that could have been memorable.

A monster film 45,000 years BC shot with three francs six cents but which ultimately holds up rather well, the filmmaker knowing how to exploit semi-desert landscapes, disturbing forests and dark caves. Excellent work of the soundtrack since until the revelation of the "beast" 20 minutes it is the only element indicating its presence. Therefore this journey through the highlands is credible and relatively tense.

In reality it's almost a survival story with an unexpected final twist (and which allows you not to strain the budget...), but which poorly explains the injury of the destroyed body, the only special effect in the whole film..

It is anthropology, not violence, that provides the final touch, a thought-provoking climax: The inevitable lessons learned in this mossy, frigid wilderness continue to have modern resonances: about fear, intolerance, superstition, survival; He has a lot to say about the slow, steady evolution of man, reflecting all the myriad divisions of the world today, from Brexit to Biden's America.

At the height of his fame, Steven McRae, a brilliant principal dancer at the Royal Ballet in London, injured his Achilles tendon and collapsed on stage. His career seems over. However, after 2 years of absence, accompanied by his coaches and the company's medical team, he is following a special program to return to his highest level. Despite adversity, Steven McRae intends to return to the stage and dance the most prestigious roles in the repertoire again.

Unknown in France STEVEN MCRAE is a star in England.

He grew up in Australia, in the suburbs of Sydney. His parents are mechanics and his father is a drag racing fan.

He is a little red-haired boy, puny, shy. It evolves in this world of cars, car races, oil smells, of roaring engines... He even imagines becoming pilot one day as he loves speed. But, by going to look her sister in a dance class, it's a revelation. Like a call. He wants to dance!

"It was the first time I felt that way. It was extraordinary and I didn't want it to stop. Ever. Dancing was freedom." 10 years later, at 17, he won the Lausanne prize, the most big dance competition for young dancers. At the end of competition, the director of the prestigious Royal Ballet school from London asked him to become his student...He moved to London where he worked hard until he became the star dancer of the "Royal Ballet".

The filmmaker met him for the first time somewhat by chance in 2011 and the project of making a film about the dancer had been on his mind for a long time... The right moment arrives when Steven gets injured, a taboo subject in dance circles. The idea for the documentary is there and Steven agrees. They exchange, get to know each other, sympathize.

The filming without embarrassment and without modesty goes deep into Steven's intimacy and sensitivity without ever sinking into voyeurism.

Steven Carrell shows and tells the fragility of life, the vulnerability of a man but also his ability to get back up with this strong story, with powerful narrative forces and dramatic issues worthy of fiction:

"I want to make a particularly beautiful film, print the body and mind of Steven McRae on film. I want to follow him as closely as possible when he dances. Feel him breathe. Experience every emotion with him. Dare to use framing that borrows heavily from photography." I like to frame at shoulder height, or leave the frame empty around a character. Filming very graphic lines to give breadth to the image, to question, and above all to accentuate the idea that we don't tell one story like any other."

Some training or dancing scenes or "Steven Mcrae is alone" are incredibly beautiful and nothing to envy of "Black Swan".

By the way, if you thought like me that classical dancers are all skinny, you will be surprised, "Mcrae" looks more like a Rugby player all in muscle and power.

Obviously the soundtrack of the film is essential and it magnifies the emotions (There is music, symphonic music obviously but also string quartet and electronics)

It's a favorite that I highly recommend even if you know nothing about classical dance, which is my case.

An argument that doesn't seem to be where it's going, and in fact it doesn't know where it's going.

It's the first, bad version of a script that a teenage film student would write in a weekend.

Of course, the ending is not at all predictable, but if it is not at all it is unfortunately for the wrong reason: It is without a doubt the worst part of the film.

It's a bad student scenario.

From the start it doesn't work: a gogo dancer from the "Fabrik" nightclub in Madrid decides to steal pills (the only motive of the film is perhaps to allow the fashionable actress to be sexy while time) in the nightclub where she works and abandoning her car and her cell phone about three meters from the room... to walk to a building from where, inexplicably, she never leaves. Well, after waiting a long time for something exciting to happen, more than three-quarters of the way through the movie, it looks like something is going to happen...

There's satanic cultism in the air, a full moon looks like it's about to trigger an alien invasion, a goddess of evil approaches, and then finally poops, pretty much nothing.

Nothing works, nothing is even correct, it's not horror, it's no longer a thriller, the bad guys seem to come from teletubbies, who are surely smarter!

Ten minutes before the end the heroine, a badass, exclaims: And now we're going to dance; We tell ourselves that at least these last ten minutes will turn into an effective settling of scores against the bad guys, the witches, the monstrous servant, the goddess of evil...

We are treated to a minimalist fight with one of the bad guys, and a shotgun blast at an old woman!

And the ending, yes I'll come back to it again, is so stupid that I felt embarrassed for the director. Because it's hard to believe that the director of Rec could have made such an empty film. Sometimes it's better to retire on time. With such a poorly constructed storyline, it's hard to come up with something decent that can't even be described as cheap teen gore. Another great failure of Spanish cinema which pretends to make horror cinema and puts people to shame.

Don't waste your time on this.

Emerald Fennell steps up her cinematic style with a flawed but delightfully strange and quite daring drama Saltburn is wickedly twisted, seductive and soberly satirical "It has strength, dynamism and style, even if the scenario is classic and quite predictable. When we see it, we think of a mixture of "Return to Brideshead" by "Evelyn Waugh" (see the review of the book in this group) and the adventures of "Ripley" by "Patricia Highsmith". The film is explosive, and the result is a captivating and narratively impactful adventure.

Saltburn is a fairly long film but it's still entertaining. Fennell makes some bold decisions over the course of these two hours: in particular, a quick narrative cut at the end feels cruel but, when the sacrifice leads to the final dance sequence all can be forgiven. And certain scenes are strong enough to become unforgettable (the bathtub, the scene on the grave) which I think transcends the overly classic scenario.

Much of the key to the film's success lies in the elasticity of "Barry Keoghan": his face and eyes can move with a shadow, and it is impossible to imagine that any other young actor would look as dangerous as that. .t We are also far from the "high-class film in the English countryside (James Ivory) or films about Oxford"'), "that's not what interests the filmmaker.

Félix can point the finger at the Rembrandts and the Holsteins but the visit to the manor castle is done in 5 minutes (dizzying) and this is how the film shows the wealth of the place as it is more interested in the water of the bath of Félix in the gardens or at English picnics. What Fennell wants to dissect are these characters, "Keoghan" and "Pike" especially.

"Saltburn" doesn't have a truly original storyline, but it's the way the story is told that makes this work deliciously irresistible.

A top-notch perverse psychosexual thriller, transgressive tone and scenes about wealth, class divide and perverse desire.

#henrimesquida #cinemaandliteraturegay.

Knowing that the formidable "Gremlins" is going to be 40 years old, it was not a good idea to try to remake certain iconic scenes a thousand times worse and it is only when they move away from them that certain gags hit the mark .

Furthermore, it's another one of those films that doesn't know how to choose which audience to address: too violent for its very young target audience and too childish for an older audience. So it's not stupid enough (it's an adjective that is not at all pejorative when it comes to "Gremlins") and not scary enough.

The cultural gap between the American family and the Norwegians is the funniest thing in this good-natured entertainment.

Providing a superb portrait of American society in the final decades of the 20th century, the series explores what has been called the "Lavender Terror" that shook the United States at the same time as "McCarthyism" (and closely linked to this one), who under the cover of anti-communist struggle had attacked all the "deviants" (golden opportunity to get rid of all the people who did not conform to American dogmas and conformism). McCarthy and the terrible Roy Cohn (to learn more about this sinister character see also "Angels in America" who in its 2003 miniseries version is played by Al Pacino) therefore launched a witch hunt which attacked thousands homosexuals, among others.

The survival of homosexuals during this hypocritical and disastrous period for her, when a simple look could ruin your existence, is very well covered here. It is in this detestable and dangerous atmosphere that Hawk and Tim, two men for whom it is impossible to express what they feel, but who know, accept and end up taking responsibility (for one of them it will take 30 years...) that they are the great love of each other's lives, regardless of whether circumstances separate them, sometimes for many years.

The storyline is very solid, with well-constructed characters (including secondary characters) and the perfect rhythm. Sex between men, rarely shown with as much realism as here, will shock the most prudish and in fact reveals the author's unwavering courage.

It is a pleasure to discover the work, individually and as a duo, of "Matt Bomer" and "Jonathan Bailey": "Hawk" and "Tim" work at different levels in politics, and therefore must pay extra attention: Hawk has an official partner (Lucy), daughter of a senator for whom he works, and is quite old - and cynical - to know how to move and escape surveillance. His relationship with Tim becomes stronger and stronger, but his double life imposes limits and makes him very cruel and sometimes even hateful.

"Tim", younger, innocent and in love, doesn't know how to protect himself at all; he is noble, upright and shy but honest in his feelings and implacable in his social commitment (when he has lost his political blinders) and if he does not lead a double life, he still works for the senator "McCarthy" who he admires the bridge of being blinded.

Proof if any were needed of the intelligence of the scenario which does not hesitate to show these men with all their contradictions, which makes them not fictional puppets but beautiful, deeply human characters.

Bomer, for his part, adds an unforgettable character to his collection (just as a reminder of the excellence of his interpretation in 'the normal heart' by "Ryan Murphy"; moreover more or less halfway the series plunges into a another period just as disastrous and more focused if possible on the LGBT community: the condemnation and stigmatization of which it was victim during the epidemic of the AIDS virus.

"Fellow Travelers" with its historical dramatic context, its complex story of passion and its high-tension sex scenes is a remarkable, sensitive series, full of history and activist commitment. For demanding viewers it is proof that television can, when it wants, entertain by offering strong and potentially artistic works.

Good performances, murders galore, and a gripping plot about an FBI agent; you can hardly ask for more from an American spy series. It's not always very subtle and there are big clogs here and there, but it's simple, engaging and at times very effective. There's not much better in the action thriller genre. The format is very recognizable and we have already seen it in films and other series, made according to the same model, but from reading the synopsis we know where we are going to set foot and if the subject FBI - political intrigues - secret service - White House is not your thing, well, you can always choose to devote yourself to something else, but the series is what it is: action, intrigue, espionage, betrayals, chases... and in In this sense, it largely keeps its promises. No, the secondary characters are not particularly in-depth, but stop there, it's a series of actions and political intrigues and, as such, it's good, but it doesn't feel like Macbeth .

In short, a well-calibrated action thriller which will entertain fans of this genre and which will hook you if you are part of it from start to finish.

Afterwards we can find better, as entertaining and a little finer if we leave the U. S. A. I am thinking of England and in particular of the formidable "Bodyguard" by "Jed Mercutio" which with which "the night agent" seems to me to have more a common point. Suffice it to note the choice of hero, not at all calibrated with big muscles or triumphant virility: the excellent and very cute "Richard Madden" for "Bodyguard", the small and cute "Gabriel Basso", barely out of these child star roles for this "Night agent"