Change Your Image
b_velkova
Ratings
Most Recently Rated
Reviews
The Substance (2024)
Only superficially aligning with the film's feminist pretence
It falls apart already in the fourth scene. Demi Moore's character discovers that she's being kicked out of her TV show by overhearing her boss's phone call in the men's restroom. First of all, it is too early for this, there is no buildup and it seems as though the presented problem is the only one a woman faces as she ages. Moreover, it's only relatable for those who strive for stardom, since the two other things mentioned previously are related to the fleeting nature of fame. Secondly, overhearing is an extremely lazy and unimaginative way of revealing information. And finally, the vile close-ups of the boss urinating while on the phone, contrasting with Elizabeth's puppy-dog look, clearly show that she is not going to be an actor in her situation but merely a victim of men - unrealistic and only superficially aligning with the film's feminist pretence.
The true recent masterpiece on the topic is May December, which examines a women not only in her different life seasons, but also historically and socially. It does not attribute an entirely victimized (or villainous) status to any of her manifestations and manages to be deeply disturbing without a single blood fountain.
Parthenope (2024)
Alcoholic, depressive, a wonder
At first I was annoyed and was sure I won't make it till the end, but then the scene with the aging star caught my attention. After her derogatory speech in front of her "former" fellow-citizens and despite the view of her balding head, Partenope listens to her "advice" and touches her face with great mercy. At this moment I realized that the movie is not about the beauty of some mythical siren, but about the beauty she sees in people beyond appearances. Moreover, it doesn't happen after she has lost her youth as her professor suggests - if so, with his sulky performance at the exam, he wouldn't have been able to impress her either. No, Partenope exhibits her superpower throughout her life and the examples are numerous: when she reads John Cheever, alcoholic, depressive, a wonder; when she passionately kisses the disfigured acting teacher... And because she is a personification of Naples, the human imperfections she sees through are connected with the history of the city - with the ignorance and the misery, the patriarchal oppression, the facade religiousness and the superstition, the violence. All these are shown in the most brutal, horrific scenes, but in Partenope their bearers find understanding and acceptance and become wonders. Still, 8 out of 10 because of the slight sense of pretentiousness. You cannot be arrogant when you advocate for embracing all souls.
Bird (2024)
Is it too real for you? - Um no.
I'm a fan of Arnold, although for me, her great film is Fish Tank, not so much American Honey. The short Wasp is also fantastic. So I had high expectations for Bird, especially with Barry Keoghan in it, but I saw it at a festival yesterday and I'm deeply disappointed. The young actress doesn't pull it off at all, and as usual, Franz Rogowski as well-honestly, I don't know why they keep casting him here and there. The film doesn't focus on a particular story but rather on the issue of teenage pregnancy in marginalized communities, and it just falls apart into the various aspects it tries to explore. The magical element, which is supposed to symbolize the human spirit rising above grim reality, is poorly connected to the events, its message is simplistic, and the visuals are ridiculous. The audience burst out laughing when the big bird carried off the abuser... But the film's biggest sin is that it has nothing to do with reality, and when the final song asked, "Is it too real for you?", I shouted in the theater, "No!" It tries to pass as authentic, even exaggerating the material poverty, but at the same time, it totally sugarcoats the characters and their relationships. It's a typical propaganda technique, pretending to show mercy towards the victims but actually rejecting them even further and refusing to empathize with them unless they behave "properly." For comparison, see Gummo, where even the youngest children are utterly corrupted, and that's the real tragedy that hits you hard.
Monsters: Don't Dream It's Over (2024)
Keep up the good work!
After the trashy trailer I was watching only to be able to criticize, but this episode got me. For the first time I realized the creators are actually exploring different angles to the story. At the same time, they obviously have strong opinions and that shows in the absurd and even hilarious way they treat the elements which don't hold up. So, while I very much understand why the brothers want to answer, it's exactly the strongminded approach that makes the series good (at least for now). In the end, everyone will make up their own mind, but meanwhile we'll all have a decent watch. I personally don't need the sexual abuse part to sympathize with the boys. Actually, showing things from their parents perspective makes their case even stronger - imagine the crushing ambition of this immigrant father with his legacy that he sold his soul for, his suffocating traditional views and quick temper; all the psychological terror that must have been going on. And in the end he is praised as an exemplary community member and deserves a quiet night in front of the TV? Nah. It's a great climax when the boys grab those guns. Some scenes from the next episode cracked me up - the parents' commando appearance out of their living room in Lyle's story for the jury; the sleazy bathroom scene in the version of the crime reporter... Pure gold! I hope they keep up the good work till the end.
Strange Darling (2023)
(Gripping) Form over substance
Not bad at all! The two leads do a great job (especially Willa Fitzgerald as the Lady!), the non-chronological narrative is not that original, but it works well for this story, the cinematography is beautiful and gripping. But mostly, it's lovely to see a strong stereotype challenged! I can't tell you more, but the surprise is worth it, I promise! I needed more substance though - either as character motivation, or as more power in depicting those primal tropes. All in all, a very satisfactory cinematic experience, but I'm afraid that due to its shallowness it could prove to be somehow forgettable.
Skunk (2023)
It could have been much better
When you want to make a social commentary, you don't take the most excessive case there is, the story should be widely relatable. Or you should make the relatable elements stronger like, say, in Pearl. I mean, very few people kill their parents like she does, but her story is almost every girl's story: the daughter's role she's forced into, the absolute control over her body and soul, the craving for escape, and the complete lack of capabilities to exist outside of the family, because she's deliberately debilitated, prevented from maturing. The only moment I felt close to Liam's story was when he and his parents gather in this sort of a family portrait: the abusive father, the drugged mother, and the terrified kid clinging to each other in some twisted love embrace. Despite there's always ambivalence in family matters thought it is unlikely that Liam would want to go home like he does, even less so - that he would want to go back to school, where he had to soil his pants to be left alone. By the way, this part definitely had to be shown and not told, especially when you build your whole character's personality on that feature. The violence both at the boy's home and at the institution is out of context. We just see some random scenes and the only conclusions we could make is that some people are animals. Otherwise, the actors playing the mother and the father are pretty great at portraying someone out of control. Now, I don't know what was the idea, but to me the social workers seem useless. They have no authority and are pretty unprofessional too, taking, for example, personal calls during therapy sessions. They are also unfair and make Liam feel like he's in the wrong when he's trying to defend himself. But still, he bonds with them. I just hope that reflects his habit of loving whomever is close and doesn't promote the social workers' behavior as helpful. All in all, a pity, because child abuse is an epidemic and should be exposed with powerful examples, so that people cannot say: oh, here's what they do in third-rate movies. No, that's what you do.
L'amica geniale: The Dispersion (2024)
Even worse than before
The new cast is even more awful. A fiery woman like Alba Rohrwacher is the last person suitable to play the sheepish Elena, Lila looks more vulgar than anything, and it's no longer clear why would anyone lose their mind over the new Nino. As for the countless other characters, it's hard to even follow who's been replaced by whom. For now the story lacks its usual ambivalence which was the only value it ever had. Seemingly deep observations are actually nonsense. Like: "In love it's over only when you can become yourself again, without fear, or disgust." Or: "You're a bad person (because) you're concealing a craving to grab everything."
Ripley (2024)
A mere mortal's attempt at the heavenliest life
I had some reservations about the b&w cinematography, but it's not only gorgeous, it makes the whole case of the series. Ripley is a person of contrasts, murderous, but also so deeply in love with life that he really seems more deserving of it than most of other people. I haven't read Patricia Highsmith's novel yet, but I love how the character is treated here compared to the movie with Matt Damon. He's maybe not that young and cute (but don't get me wrong, I adore Andrew Scott!), there are not so many chances left ahead of him, so you understand very well why things are a matter of life and death. In comparison, the romantic feelings which motivate Matt's character come across as implausible and childish. I also find the Caravaggio connection very clever not only because he's also killed a man, but because he is considered to have naturalized art, depicting sacred scenes in human ways, which is reminiscent of how Ripley infiltrates his mere mortal self into the heavenliest life possible on earth. I only missed Philip Seymour Hoffman as Freddie.
The White Lotus: Arrivederci (2022)
Jennifer Coolidge
Came because the season is set in Sicily and learned that the locals/permanent residents drive like crazy and whether they are poor, or seemingly rich, they will try to play you. Some comical elements are over the top and I hated the patriarchal implication that male infidelity is inherent and unavoidable and thus a smart woman is one who accepts it and, to not feel resentful, secretly adopts the same attitude. Jennifer Coolidge and her character are spectacular though and the atmosphere in the concluding episode is magnificently dark and disturbing. The intro is powerful - picture, sound, and message.
The Portal (2021)
Seen as a comedy, a pretty good attempt
Seeing it mostly as a comedy, I'm actually pretty happy with this miniseries! It looks really well and although it's not exactly accurate to the past, it definitely brings the feel of it. The story is flawed, but it's told in a fun and effective way. With small exceptions, the acting feels natural and there are even some iconic performances. My personal favorite characters are the secretary and the partisan, craftfully depicted by Dessi Morales and Radena Valkanova. The two male leads are also doing a pretty good job, the mock James Bond image suiting Velislav Pavlov perfectly. The cast of Maria Ilieva as Yordanka Hristova is brilliant. Chicho and the loser husband should be mentioned as well. And let's not forget the seemingly small but crucial roles (in the series and in life) of the bartender, the receptionist, and the cashier. The product placement could have been less obvious and I would have liked an even stronger Bulgarian presence in the soundtrack. Also, stealing objects of author's rights is the same as stealing objects of cultural heritage, so if you want to have a hero and a villain, better give them opposing occupations. My biggest complaint though is why wasn't the series better promoted and I had to discover it only now?!
L'amica geniale (2018)
Strong base, but poorly executed
Catfights are way more vicious, but I'm glad they are acknowledged at all - normally women's relations go under the sign of some wishful solidarity. I also like that other stereotypes are challenged too and groups and individuals are seen in their actual ambivalence. In certain aspects, the communists and even the feminists are no better than the fascists or the camorrists; a teacher and even a mother can easily become your worst enemy. I have to give 1 star though, because the current rating is way too high for a badly acted and unbelievably plotted soap opera such as this. Still, I'm planning to check out the new season streaming from 9 September and Elena Farante's "best book of the century".
Kinds of Kindness (2024)
The master is back!
I thought I was done with Lanthimos after Poor Things, but the cold acceptance of this one made me suspect that maybe not all was lost. And I wasn't wrong: the master is back! Or rather, he wasn't gone at all, because now I'm sure: Poor Things is a parody. You just cannot make the current movie if you have forgotten your legacy and decided to be an apologist of the mainstream. Dark, quirky, and unsettling, the three tales that intertwine in so many ways, exciting to explore, are reminiscent of the earlier Lanthimos's works like Dogtooth, Alps, and The Lobster. Some reviewers focus on the biblical references, but what's more important is how accurate to human nature and thus deeply relatable the stories are. And the effect is - once again - haunting!
MaXXXine (2024)
I WILL NOT ACCEPT A MOVIE I DO NOT DESERVE
Stranger Things for adults, or tons of 80's paraphernalia without any substance whatsoever. Actually, there's not much of an adult content either - literal or metaphorical. I can not see this as anything but a parody, really, so anyone who takes horror seriously should probably stay away. It's like Ti West hates the genre, the film industry and the 80's as a whole and wants to show us just how bad it was. Emblematic is the scene where the Hollywood Sign is shown from behind like a tin shell with a hollow sound. He has a point, of course, but why embarrass himself while making it? Because one can produce a better parody, you know. Pearl, for example, also borrowed its aesthetics and tropes from a previous cinematic era, but it worked like it probably never worked back in the day and despite it was a cliche, it was gripping; it had meaning. I guess, I expected something similar and imagined that the catchy phrase I WILL NOT ACCEPT A LIFE I DO NOT DESERVE would sound powerful and tragic. Well, I shouldn't have.
Syk pike (2022)
If she's narcissistic, the rest of the world is, too
If I hear one more time anything about "narcissism", I'll vomit blood, I swear! This girl's behavior is shared by everyone in (and outside) the movie, so if she's narcissistic, then the rest of the world is, too. Her boyfriend, her friends, her father, the modelling agent, the other model, the coach, and her fellow sufferers all wanted the attention for themselves and were ready to go to extremes to get it. So, if I'm giving the movie any stars, it's because of the recognition that rather than pathological, "attention seeking" is common.
Of course, it's unwanted behavior in society, especially in the Norwegian socialist society, so when it's not diagnosed and treated, it's diminished and ridiculed. That's why we see no glimpse of the protagonist's suffering here, although it must have been considerable, if she was ready to debilitate herself to hopefully end it. I also hate how they made fun of her fantasies like these are not the things we all want for ourselves. You crave people to love and appreciate you, be there for you - ha-ha, what a pathetic looser! Do you also climax imagining them cry at your funeral?
A much better attempt at the topic can be seen in Swallow - another body horror from some years ago.
Hinter guten Türen (2023)
Therapy induced madness
I'm sure the author's upbringing was ambivalent, it always is, and I'm sure she's traumatized by its negative aspects. I also think she has every right to be angry and very much welcomed the rebellious chords in the beginning.
Unfortunately, everything that follows only repeats the psychological cliche - how being abused made her attract more abusers, how she herself became an abuser, but is now "diagnosed" and will finally free herself from all her demons by putting her anger behind speech formulas and mummy calm. It's all very boring, of course, but the bigger problem is how false it is.
The "reconciliation" with her childhood friend is just another episode of their twisted catfight, her friend even having the audacity to blame her for ruining her whole idea of girls, like she herself and everyone else are coming from perfect families and bring no nastiness of their own into relationships.
This is topped by the attempt at bonding with her mother though which looks more like the cruelest revenge: basically, she lovingly holds her hands, while making her admit that her whole life was a mistake. I say - better never call her again.
And remember, if you don't side with any of this, you will be seen as yet another bully and will be condemned like the brother who dared to have his own version of the past.
By the way, the people in the theater only reacted to the mother (with sympathetic laughter) and my explanation for this is that although she was flawed, she was the only authentic human being in this therapy induced madness.
The Zone of Interest (2023)
Rather than banalizing evil, it's demonizing life
I can't believe people interpret this movie as normalization of the Nazi monstrosities and see a depiction of some "daily life", when the terror is present in literally every scene. A servant is washing his master's boots and the water comes out bloody; an older lady is dozing in the garden after a party and suddenly chokes on crematorium fumes; children are playing in a river and human ashes cling to their naked bodies... Even a frame with just a flower in it evokes only uneasiness, because you are completely aware what's happening behind the scenes.
I have two problems though. First, these signs of evil are actually too obvious and simplistic and apart from layering them one after the other, the movie doesn't do much more. (The juxtaposition with the scenes in negative is pretty unimaginative too.) Second, rather than banalizing evil, it's demonizing life in the face of someone else's suffering which is practically all life on earth. Even if you dare to argue that, ehm, unlike Nazis, you are not killing anybody, in our Christian-socialist-green culture you'll still be pronounced guilty by means of your ignorance, passiveness or even your insensible help (like the girl with the fruit). And I know no greater evil than to condemn the living because they live.
Das Lehrerzimmer (2023)
Pioneers and comrades
I'm sure... No, I know that school relations are interspersed with violence, but interrogations, searches - no way! And in a modern German school at that! At the same time, regardless of all the abuse they are subjugated to, the students also act like little Gestapo persons... As another commenter said, it's kinda surreal. The mathematical metaphor surprisingly promotes prejudice thinking and actually obliterates the narrow field in which the whole "liberal" ethic dwells. Normally, I would have liked that, but I'm sure it's not intended; that they accidently came to it while struggling to give an intellectual shine to their little story about pioneers and comrades.
Perfect Days (2023)
Better than Zen - human
At first I thought that the ending adds some kind of a dark undertone to the Zen background everyone's talking about, but then I realized that the whole movie is pierced with ambivalence, starting with the title taken from a song only seemingly about love, and that Hirayama haven't found piece only in simplicity, but also in hurt, chaos, unfulfillment, and his own imperfection. Which, of course, doesn't mean that he reacts to existential pain with positivism, but that he gives it the same right to exist, just like in the final frames his bitter tears coexist with his appreciation for the sunrise without any conflict.
Kaibutsu (2023)
Why bother to actually make the movie?
Koreeda tends to be melodramatic, but kind of good melodramatic, so I normally like what he does. Not this time. The multiperspective structure, which is also an accurate representation of our fragmentary access to reality, might have worked nicely if only it wasn't filled with nonsense. Illogical developments even with the whole picture in mind, not to mention the unhuman interactions throughout. Imagine, for example, a mother and a son positioning themselves in such a way, so in the next scene they could touch without looking at each other and the director could convey problematic, but still sought out contact... But this days it's enough to brush on one of the approved topics and everybody is in awe. So why bother to actually make the movie?
Poor Things (2023)
The left feminist awakening of a woman
The most unpredictable director takes on the left feminist awakening of a woman and lands in the biggest cliche there is. And cliches are the opposite of freedom - creative or social. This one goes like this: you discover your sexuality and emancipate from your father/the patriarchy/God. After the pleasures of the world you discover there's ugliness too, but instead of turning into a cynic, you go to the bottom yourself. There, your eyes open to the truth - with the help of a black lesbian woman, because all white heterosexual men lie - and you confront your father about the trauma he inflicted on you. Now, you are going to take his place, but instead of serving your own ego like men do, you will work to the benefit of society. I can easily see this as a parody, but I'm sure that if not necessarily its creators (I just don't want to believe that Lanthimos would do this), then its praising audiences are dead serious.
Roter Himmel (2023)
A cowardly white heterosexual misogynist and homophobe full of sexist prejudices and lacking any talent whatsoever threatens the world with environmental destruction
Two young men, one black, one white, are driving to a cabin in the woods among boar cries - wild fires are raging in the area. This environmentally alarming atmosphere will be the essence of this movie; a lovely canvas for killing of an ego and also - the perfect reason for it. Naturally, we will be killing the white man's ego who, with his neurotic behavior while immersed in the good mother nature, looses the viewer's sympathy already during these first frames. Next, the guys get into a playful fight for no good reason, but from the looks they exchange while their bodies rub, we understand that the colored person is also gay. Aside from deepening the political cliche in which the movie will be set, this scene is a sign for the cumbersome way it will be communicating its ideas.
Already at the house, the guys are informed that they will be sharing it with another guest - Nadja - so, for some unknown reason, they hide in their room till the next morning, while a wild sex scene takes place next door. Actually, I know why - this way we add yet another unsympathetic trait to the image of the cowardly white heterosexual male, and namely homophobia, seen in his unwillingness to share a bedroom with the gay man. Also, the situation presents an opportunity to create a mystery atmosphere around the next cliche character to be introduced - that of the fatal free spirited woman - and make her desired even before she's seen. The next morning she herself appears in the garden, dressed in a fiery red dress (yet another thing that's afire, how profound), hangs the sheets from the previous evening in the breeze and the cowardly white homophobe is already drooling.
The third positively depicted character against whom we will be judging the cowardly white drooling homophobe is the man who spends the night with the hippie - a bisexual lifeguard. The two men, of course, confront each other for the alpha role in the group and although the lifeguard defends his application with a cheesy sex story at the edge of vulgarity, the social sanction once again decides against the cowardly white drooling homophobe. And here, we've already gathered three characters who don't bring to the situation any contradictions of their own, but only serve as a blank - and exemplary - decor for the destruction of the protagonist's toxic ego. Women, bisexuals, and gays are having fun in a spirit of goodwill and free love, only heterosexual men stand grumpily aside pretending they are something more.
Without any grounds, of course. The cowardly white drooling homophobe - whose name, Leon, is spot on for someone who sees themselves as superior to other living beings - is just a mediocre writer. If not for another reason, but because his writing mirrors his toxic life views. In his novel's draft we read about a foul-smelling baby who ruins a love moment and thus understand that he's also a misogynist who values only the pleasant sides of his relations with women. His attempts to guess the baby's sex by the color of its blanket shows him as full of sexist prejudices too. And so on and so forth. Every scene that follows only adds further dark shades to his image till in the end you almost suffocate from the dirt - exactly like the wild fires gradually extinguish all the oxygen from the forest...
What should happen, so that all Leons in the world finally realize the enormity of the threat ablazing the sky before our very eyes, while they only worry about their stupid egos, penises, and great deeds? - asks the director heatedly like a little pioneer before his comrades and for his uninspired answer the jury at the Berlinale festival, a forum more politically biased even than the Oscars, gives him the Silver Bear. The year is 2023.
Sex Education: Episode 8 (2023)
Making the world a better place
At Otis's new school "liberalism" has finally won. Everyone is now "different" and anyone who's not, eats their lunch alone. The new power couple might not be traditional, but their function to force their standards on others remains. Only now it's cool to be green, undergo hormone therapy, and reshape your body. The "progressive" show takes a "conservative" twist portraying its yesterday's heroes as the hypocrites and tyrants they actually are. Is it possible, or is it just a plot obstacle to be overthrown in the name of an even more "liberal" picture? These were my thoughts after S4E1. So naive. Of course they will assert that bullying people for the right reasons is "making the world a better place".
Diada (2023)
See the Israeli Six Acts instead
Apart from the solid presence of Margarita Stoykova, it's just another misery story, but without the emotional effect because it's so clumsily and so dishonestly told. For one, we see the protagonist's inner state directly depicted in her scribblings, but what's even worse, any kind of problematic behavior seems to serve some very presentable purpose. Why is that now, huh? If Dida was using her body to buy herself booze instead of English lessons, would that have made her any less pitiable? Authors and audiences who cannot stand a real anti-hero only demonstrate how deeply uncompassionate they are. And I'm sick of how these self-proclaimed saints appropriate all the important topics and effectively take away the opportunity for real discussion. If you want a truthful coming-of-age drama, Kids is the obvious option, but for a more girly take, see the Israeli Six Acts.
May December (2023)
Jussst brilliant
Ingenious character study with outstanding performances from Portman and Moore. Extremely feminist without pretending that women are innocent victims, but also not denouncing them as purely monstrous. Just an honest and thus spot on portrayal of their deepest feelings and motivations, no judgement attached. An aging housewife with simple origins and a younger professional from an intellectual family might seem like polar opposites, but this movie shows how they are practically the same woman, just caught in different seasons - May/December - personally, but also historically. And how they finally merge into the image of the snake is jussst brilliant.
Urotcite na Blaga (2023)
Works only after a consideration
I was intrigued by the promise for a social crime drama in the vein of Breaking Bad and Fargo, but this movie turned out to be something entirely different. What happens in Blaga's Lessons do not stem from a conflict with the world, but rather from within - from Blaga's very sense of rightness. There's no external event that sets her in motion; it's just her need to do everything like it should be done. The fraud she later suffers is again only made possible because the criminals refer to her morals and her sense of social duty. The private lessons she teaches once again demonstrate her black-and-white thinking, the immense significance she places on minor details and how severely she judges even the slightest mistake. Ultimately, exactly this stringent mindset is why it becomes so easy for her to break bad: she already believes she's no good because of something that, in fact, is entirely forgivable. This whole character study is probably an even better idea than the promoted one and the groundwork for its development is there. Unfortunately, for me, the movie worked only after some consideration and that robed it from immediate effect in the theatre. Also, it's very Blaga-like, if you will, to measure the character's own drama against "bigger" dramas like it's done here through the image of her foreign student, a war refugee.