Kremmen, Oberhavel district. No navigation system knows the town. Even worse: there is a catastrophic shortage of women here! Desperate, village macho Ben and his buddies Steffen and Mario quaff their Pilsner and feast on cream cake. Just then, super cutie Maja comes in. The designer wants to help her aunt sell the old weaving mill. Ben promptly makes a momentous bet...
Thomas Nennstiel
Director
Nadeshda Brennicke
Maja Rebner
Tobias Oertel
Ben Heisenbrück
Liane Forestieri
Doreen Schubert
Nadja Petri
Ines Maxime / Petra
Herbert Trattnigg
Lutz Michalsen
Peter Fieseler
Steffen Petzke
Jan Sosniok
Luca
Marc Zwinz
Mario Lammers
Torsten Hammann
Thorsten
Walfriede Schmitt
Charlotte Reinders
Susanne Jansen
Frau Michalsen
The film is a simple love story reminiscent of stories like The Notebook released in 2004. Sylvie and Robert are rarely actually together in the film, however; time and circumstance keep them away from each other, and the audience waits with bated breath to see them find one another over and over.
Everyone needs a BFF and a "wing person" like Yumi (Chloris Li). Li brings the "straight person" persona, literally and figuratively balancing James Aaron Oh's perfectly timed comedic delivery as the unlucky-in-love.
Yeah, sure, the movie’s about Carnage. But it’s really about love. A love that defies all odds: the love between a man and his man-eating alien symbiote.
Shadow & Bone excels in natural story representation with powerful centering of culture. Jessie Mei Li stars as Alina Starkov, the feisty cartographer with kindness, innocence, and integrity, who comes to be revealed as the legendary summoner of light.
Ruben Östlund muses about his characters, “As soon as you get close to a person, you see them as just another human being”. It is widely recognized that aboard the luxury yacht in ‘Triangle of Sadness’, the different groups of people represent a small society as a commentary on classism and gender binaries.
Slumber Party Massacre is a gory film with just enough commentary on sexist excuses, the validity of women's voices, and the inherent feminism of the slasher.