The students Yoshkata and Petar share rooms and wartime privations in a poor man's street. Over a glass of vine, Yoshkata often talks about the stage life of genuine beauty. The student is unaware of the passion with which Vaska, the barmaid at the local pub, burns for him. Petar is a member of an antifascist combat unit. The pupil Katya loves him. Petar carries out a sabotage action and comes home wounded. Yoshkata manages to deceive the Germans who rush into their flat that they have been drinking and playing cards throughout the evening. He saves his friend. However, the secret agent notices the doctor's visits. When the police arrive to arrest Petar, Yoshkata tries to resist them and the agent shoots him dead. Petar goes underground. On the day of the liberation, all the residents of the poor man's street celebrate, and Katya and Petar happily reunited. Vaska is there, too, a baby in her arms, the fruit of her love with Yoshkata...
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.
Rather than focusing on the bleak, cynical aspects of life post-pandemic, the focus is optimistic and hopeful.
Based on a true story, when his beloved dog goes missing, the owner embarks on an incredible search with his parents to find him.
On top of the phenomenal acting, and great dialogue between the two characters, the cinematography was ravishing! The sound was outstanding! The production design was simple, yet intrinsic. The minimalistic approach in the Malibu beach house represented how little they really have going on in their relationship. The storyline may have been much simpler than "Who's Afraid of Virginia Wolf," but all the more insightful, and much more animalistic at its core.
In Deaf, the Spanish director Eva Libertad explores pregnancy and motherhood from the perspective of a deaf woman. Her movie examines how the world imposes the notion of disability on her main character while she actually does not feel disabled herself.
Lady Bird (Saoirse Ronan) tells her mother (Laurie Metcalf) that she wants to live through something — something that matters.
