After more than two decades working for Tunisia national public radio, Youssef is on his way to retirement. Somewhere in the town of Sidi Bouzid, a young man sets himself on fire. Youssef is viciously cut off broadcasting during the last issue of "Tunis by night". As he leaves the radio station, he gets picked up by a police patrol car waiting for him and he spends a few hours in police custody. Amal (his wife) finds refuge again in prayer and the elder brother Amin, tries to put his family's pieces back together as well as he can. Their youngest daughter Aziza lives completely disconnected from the pace and values of her family. She cuts her veins after a cascade of problems. Revolted but silent, Youssef takes refuge at the "Saint George", the adjacent bar he has been a patron forever. He empties his mind after emptying a few bottles of wine. Youssef then runs away from his family to be engulfed by a city he does not recognize anymore.
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.
As I typed this, Chris Evans was being “cancelled” on Twitter. I did a little research on this since I always thought Chris Evans was well-received. It turns out the backlash is because of a white savior movie he made called Red Sea Diving Resort.
In My Octopus Teacher, documentary filmmaker Craig Foster models healthy masculinity by showing us a trusting, gentle, and emotionally fulfilling bond with an octopus.
Slip on your favorite dungarees and spend the day on the east coast of New Zealand before the 90s.
Joann Kohng’s Subject to IX tells the heartbreaking truth of the Title IX rules that colleges abide by.
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.
