'Tár' — The Monster's Side of Paradise
A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.

Writer Pavel Snegirev comes to the village where during the war there was an orphanage where he spent his childhood, and meets his old friend Klim Avilov. The collective farm foreman does not understand and does not accept the writer, who did not keep his promised word and did not return after the army, thereby betraying both their friendship and the love of Anichka, who had been waiting for Pavel all this time. Their meeting is the last in their lives.
A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
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A pampered dog who gets lost and has to learn to live on his own while being flexible with surroundings.
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This is not a film, it’s a drop tower. A drop tower that you don’t get off of for the vast majority of its 106-minute runtime.