Young scientist Jamal Zakhidov is convinced that the ruins of the ancient city of Aran are located in Azerbaijan. Zakhidov is seeking to organize an expedition to the area where he believes Aran is located. Zahidov's friend, a young archaeologist named Jalil, is also well versed in geology. He believes that the rocks he accidentally found at the foot of Gyzyl-Gaya contain valuable materials. But Imam-zade, a secret agent of a foreign intelligence service, steals these samples. The expedition members meet an old man named Murtaz. The old man recognizes Imam-zade as the son of Suleiman-bek, the former ruler of these lands, who killed geologist Karimov, who was conducting research here in 1920. Realizing that he has been exposed, Imam-zade blows up the cave in an attempt to destroy the expedition. But the locals rescue the expedition members. Imam-zade is detained by MGB officers. Uranium is found in the rocks discovered by Jalil at the excavation site...
Shua Sheykhov, Ismail Efendiyev
Director
Ismail Daghistanli
Zahidov
Alasgar Alakbarov
Rashid Sardarli
Ali Zeynalov
Imamzadeh
Mohsun Sanani
Javadov
Leyla Badirbayli
Leyla
Mirza Babayev
Jalil
Sürəyya Qasımova
Afat
Alakbar Huseynzadeh
Murtuz
Mammadrza Sheikhzamanov
Gafar Niyazov
Rahila Jabbarova
Jahan
Munavvar Kalantarli
Masma
In all honesty, “Black and Blue” is a satisfying experience, complete with solid craftsmanship. With the help of cinematographer Dante Spinotti, Deon Taylor (the director) creates a murky, lived in atmosphere.
The gentle, emotional nuances of Evan’s coming-of-age story would have been so beneficial to have incorporated into the life of a POC character. Showing a Black, Asian or Latino young man that is afforded the space to be vulnerable, flawed and sensitive while driving a compelling and widely-loved narrative would have been a game changer.
The shattering of what we strive to maintain as reality. It is certainly truthful to state that most, if not all, of us have experienced moments of genuine mental stress. Regardless of what might be the cause, the sheer unsettledness, the pressure that weighs upon us is a tangible force that CAN seem insurmountable. However, more often than not, this is only a temporary , one we can come through and simply move on from.
Lee Daniels’s Billie Holiday biopic The United States vs. Billie Holiday was released on February 26th, 2021, and my immediate reaction to it was one of discomfort.
"Boston Strangler" pulls the curtain back on a well-documented historical moment involving significant contributions from women reporters.
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.