
Temo is in debts, just like majority of Georgian population, he has lost everything and now he’s sheltered by his girlfriend who lives in a tiny shack, together with her mother. Temo tries different things to get out of the situation, but his attempts are naïve and futile, be it discovering of constant energy or farming frogs for selling on the internet. Social complications are putting more and more weight on Temo’s back, because of this Temo is forced to take a criminal way to solve his problems.
When we hear Korean Cinema, we often think of South Korean Cinema, but what about North Korea? Sure, North Korea has its propaganda moments, but 'Pulgasari' might be its best one yet.
The short documentary and second place winner of the Incluvie Short Film Festival, Gender Outlaw: A Bodysurfing Story, challenges any simplistic understanding of trans people.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
'Airplane Mode' is a young adult movie that is about a woman who learns to step away from her smartphone, and from social media.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.