POMO

Episodes from the life of Roman high society, which in themselves are filmmaking glamor. The Great Beauty is a visual gem, abstract not only in its image, but also in terms of content. It’s not possible to absorb it all in a single viewing, as the sheer number of thoughts and reflections requires watching it again. And even if you still don’t absorb them all, you will remain dazzled by the atmosphere and elegance of the film, touched by the harmony between the camerawork and editing, which is simply incredible. Paolo Sorrentino is from outer space. The disco party at the beginning of The Great Beauty beats the entire Great Gatsby.

"Kill Bill 3: Kill the Priest", or a French conclusion of Tarantino’s trilogy comprising Inglourious Basterds - Django Unchained - ???. In the Name of the Son is a bold and cynical farce about deadly serious matters. It is a film you certainly didn’t expect, but you’re glad it exists.

A million-dollar idea set on a picturesque Croatian coast. Sunny exteriors, a relaxing atmosphere conveyed in a fresh Balkan manner, comical characters, humor of both a plebeian and intelligent nature (great jabs at the Church). A perfect break from super-serious festival dramas, as well as tasteful and at a high filmmaking level.

It’s as if Michael Haneke (again driven by the need to explore human dignity) tried his hand at staging in front of the camera – without the need to provide the viewer with a coherent story. Code Unknown is a chronologically scattered mosaic of excerpts from the stories of a group of people who have affected each other’s lives. Watching the characters’ behavior in long shots with no music. There are a few great scenes that make you bate your breath and a few scenes whose absence would make the film more compact, easier to understand and more emotionally engaging. For Haneke’s fans, it is material for hours of discussions. Juliette Binoche is excellent.

Ben Wheatley and his friends grabbed some historical costumes and a big fan, went to a field, ate some ‘shrooms and made a black-and-white independent movie. The question of “is it me or is this film crazy?” is answered about two-thirds of the way into it.

This seemingly banal story (with a tragic ending) is based on real events from the life of an ordinary African-American and his family. It is, however, rendered in such quality that it will touch your heart and bring tears to your eyes. Michael B. Jordan's acting and Ryan Coogler's directing are both outstanding.

Neither entertainment nor distinctive art. No emotions, no excitement, no poetics, no nothing.

François Cluzet practically doesn’t leave the screen, successfully carrying the entire film on his shoulders – with his unreadable, stony expressions, he keeps the audience curious as to what he wants to do and how he’s going to do it. Not that much happens in the end, however, and the film remains just a well-rendered take on a real event, which for foreign viewers is not as interesting as for the French. For them, this was the media event of the year. I was happy to hear M83’s “Midnight City” in the end credits.

I’m prevented from truly relating to this painful odyssey by the fact that the sufferer underwent it repeatedly and voluntarily. Cynically speaking, it’s a case of “you've made your bed, now lie in it.” Nothing Bad Can Happen does not criticize faith, nor does it advocate idealism or punish evil stemming from the dark corners of humanity. It only contemplatively lets them enter into an extreme and tragic confrontation. Courageous and powerful.

As if a Balkan high school student, obsessed with the first Rambo, had fulfilled his dream and cast two Hollywood stars in his own, ultra-serious interpretation of the shadows of his country’s history. The result is a dramaturgically primitive, technically impossible and often unwittingly ridiculous film with the original message that war is bad. Pure B-movie material.