Moscow. 1937. Thirteen-year-old Nikita is on the threshold of adolescence. He is full of hopes and dreams, which are interrupted at dawn by an insistent knock at the door. NKVD officers have come for his father. Nikita's parents task him with getting rid of incriminating documents kept at home. Nikita, attempting to carry out this task, comes face to face with the commissar. Now the hero faces a difficult choice: hand over the documents or put up a desperate resistance.
The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
The newest Pedro Almodóvar movie, Pain and Glory, focuses on an aging and debilitated filmmaker, Salvador Mallo (played by Antonio Banderas) reflecting on his life in his old age.
Moonlight is a film that will certainly be remembered for how it won Best Picture, but the movie itself should be known for its excellent representation of one of the most underrepresented groups in film: Black, gay men.
A bumpy journey about revolution and family makes us feel fear, disgust, humor, and satisfaction.
A young woman finds herself trapped in a crossfire of awkwardness during a nightmarish dinner party with her boyfriend's dysfunctional family.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
