After a hard life of chasing nazis, Jacob Cohn is on his death bed. Recently, he found that one of the most bloodiest nazis, who almost killed him in a concentration camp, is hiding in Portugal. Friederich Haas was known also as the Dachau Dentist for pulling the teeth of the prisoners mouth, one by one, just for fun. Without alternatives, being to weak to go after him, Jacob sends his pacifist and shy grandson, Jean Luc to finish his last mission. Jean Luc has to go to Portugal and bring Friederich Haas' teeth to his grandfather.
This film was filled with great plot points. Unfortunately, they all contradicted each other and clashed. Had the premise of Awake been more consistent and accurately portrayed the real world aspect, I think this could have been an extreme success.
Amid the ongoing debate surrounding Christa Pike’s death sentence, watching East of Eden, which shows that women can be monstrous too, is definitely refreshing.
The story is a moving sentiment of letting go of the past and putting trust and faith into others. Though you come into this world alone, surrounding yourself with others that support you and want to help is the greatest gift life could ever give.
After We Collided is a sequel to last year’s After, which itself was based on Anna Todd’s 2014 novel of the same name, and which was originally published as a Harry Styles-centric fan-fiction on WattPad (a similar path as E.L. James’ Fifty Shades of Grey series).
The film, which focuses on an Argentinian family during an intimate birthday dinner, efficiently captures the eccentricities of each character as well as the nuances of their interpersonal dynamics.
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.
