A black screen with a reticle in its centre, vaguely reminiscent of Ego-Shooter games. Then figures from shooting galleries make fleeting appearances, lasting just fractions of a second, pistol in hand, standing or kneeling. A conglomeration of stereotypes from American gangster movies. The TRIGGER in its double meaning, as a trigger for both weapons and cameras. From 150 so-called “training targets” Björn Kämmerer made a selection for his latest film, filmed these on 35mm and with the aid of overexposure assembled them to a cinematic stroboscope. That makes a bang, even without sound!
When you don’t factor in the plethora of inferior sequels that have been produced, Luca is one of Pixar’s simplest and most unassuming films in years — and there is absolutely nothing wrong with that. The film thrives on being a visual feast with a warm message for all ages, so much so that its unoriginal storyline doesn’t feel that big of a problem.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
The Mandolorian has a more nuanced and commentative take on masculinity that refrains from praising the toxic traits associated with the social category, while also showing a more positive and transformative representation of masculine characters.
As one of the women said in the film, friendship in your teens is “as important as any lover” and it’s clear they lived that philosophy throughout their early adult lives as well.
