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Shakespeare's classic comedy is given a contemporary spin. Using the original text, the story of sparring lovers Beatrice and Benedick offers a dark, sexy and occasionally absurd view of the intricate game that is love. A modern retelling of Shakespeare's classic comedy about two pairs of lovers with different takes on romance and a way with words. Leonato, the governor of Messina, is visited by his friend Don Pedro who is returning from a victorious campaign against his rebellious brother Don John. Accompanying Don Pedro are two of his officers: Benedick and Claudio. While in Messina, Claudio falls for Leonato's daughter Hero, while Benedick verbally spars with Beatrice, the governor's niece. The budding love between Claudio and Hero prompts Don Pedro to arrange with Leonato for a marriage. In the days leading up to the ceremony, Don Pedro, with the help of Leonato, Claudio and Hero, attempts to sport with Benedick and Beatrice in an effort to trick the two into falling in love. Meanwhile, the villainous Don John plots against the happy couple, using his own form of trickery to try to destroy the marriage before it begins. A series of comic and tragic events may continue to keep the two couples from truly finding happiness, but then again perhaps love may prevail. (oficjalny tekst dystrybutora)

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angielski After two screenings in a row, I can't stop thinking about whether the uninformed viewer could ever enjoy the current adaptation of this medieval romance. Probably not. It's not that it's absolutely necessary to know that we are watching friendly "amateur theatre" at Joss Whedon's house in order to enjoy slightly adapted classic texts, but it is precisely those who have thoroughly watched Joss's TV work who will enjoy this dose of Shakespeare the most. Whether it's a deeply dreamy sigh that "Wesley" and "Fred" are still a fated couple years after the end of Angel, or just a knowing smile when "Mr. Dominic" from Dollhouse casually starts playing the guitar in the morning. Perhaps only Nathan Fillion is again playing Nathan Fillion, and we eat it up with benevolent forgiveness, not expecting anything else from him. And that look lasted easily until the final credits. This friendly art is everything. A successful experiment and a declaration of love for beloved classics – but above all, an excellent film where sincere confessions blend with a decent dose of side jokes. ()

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