Maler Pratt, an artist, refuses to sell his paintings as he thinks that they still need improvement before being publicly exhibited, but his wife Monika thinks differently and sells them because she thinks they are good...and they need the money. As he only signs an "M" on his work, Monika has no difficulty in claiming she is "M", but problems arrive when she is commissioned to do a large mural and Maler refuses to help her out. However, his creative spirit gets the best of him and he does the mural which is widely acclaimed to be a great work of art. Felder , an art dealer, is not overly pleased with this turn of events as he has been pleading with Monika to divorce her shiftless husband and marry him.
Wolfgang Liebeneiner
Director
Luise Ullrich
Monika
Viktor de Kowa
Martin Pratt
Heinrich George
Felder
Hubert von Meyerinck
Dr. Elk
Will Dohm
Konsul Brenkow
Charlott Daudert
Vera Brenkow
Hans Hermann Schaufuß
Herr Lemke
Wilhelm P. Krüger
Der Gasmann
Maria Wanck
Fräulein Klette
Leopold von Ledebur
Präsident der Akademie
Erich Dunskus
Gläubiger #1
Some people’s first introduction to Mira Nair might be as New York mayor Zohran Mamdani’s mom. But with her insightful direction of 1991’s Mississippi Masala, Nair shows how much she deserves to be known as an artist. Delivering a nuanced portrait of a romance between a Black man and an Indian woman living in the South, Nair explores the complications each character faces, giving both equal weight.
"The Mitchells vs. The Machines" captures the eternal struggle between kids who want to pursue the arts and their practical parents who think they'll fail.
Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.
The social issues The Half of it takes on are handled well, between the antagonization brought on to Ellie for her race and the conflict that arises from her being gay. Both aspects of her character are built up over the course of the film and don’t seem abrupt or rushed. The film shows racism towards Ellie and her and father in varying levels, from having her schoolmates specifically address her as "Chinese girl” to the fore mentioned way her Dad is treated due to language barriers. The same can be said about Ellie being a lesbian. While she never truly “comes out” in the narrative, that does not undermine her journey of self-discovery from being meaningful. These ideas aren’t thrust upon the viewer in a preachy manor, the scenarios that occur feel believable given the rural setting. The film presents watchers with problems whom those like Ellie may face, and leaves us to sit with them and reflect.
Mirrorball is full of passion and love for the medium of cinema and is indeed a fitting love letter to La La Land.
It's not love. It's Obsession. The hook of this movie is the tension between wanting to be loved and the fear of being all-encompassed by that love. It plays on men’s typical (though certainly not universal) inner-conflict