IviDvo

Paolo Sorrentino's new film, released at Cannes, is a heady poem paying tribute to youth and human (female) beauty (how else), and I have to admit that I was completely drawn in and enchanted by the first half. I haven't seen such visually captivating, perfected shots in a long time. I liked the character of Parthenope, because she is aware of her beauty, but I didn't think she was taking advantage of it, on the contrary, she knows her worth very well, she is not only beautiful, but also smart and ambitious. But unfortunately the enthusiasm gradually waned in the second half, because the main character stopped acting logically. I didn't quite sympathize with her actions and some of the events. I stopped seeing any sense or point to it. So, in the end, it turns out that the whole film is actually based on the beauty of the lead actress and the masterful visuals, but unfortunately that's not enough. [Festival de Cannes 2024]

Films about coming out are no longer a novelty these days, but Three Kilometres to the End of the World provides a fresh look at how people living in isolated places deal with such a situation, where not only the influence of traditional values on the modern generation, but also deep-seated prejudices and fear of the unknown can lead to tragic consequences, all in an environment that seems idyllic at first glance. The methods parents resort to in order to resolve their son's situation, to help him, really takes us back a number of decades, if not more, and if it weren't for smartphones, one would almost feel that this is the Middle Ages. Either way, it's a compelling film about the courage to be oneself, even if it means facing hostility, misunderstanding and non-acceptance, even from those we care about most. [Festival de Cannes 2024]

The endless scenes and slow pace carried me into a state of agonizing torpor. Unfortunately, the story of two miners facing the hardships of contemporary Vietnam did not engage me at all. While they both long for a better future, the entire film is clouded by the ghost of memories and the past, which certainly doesn't inspire a sense of hope for a brighter tomorrow. [Festival de Cannes 2024]

Chris finds a malfunctioning robot in the woods that perfectly resembles a human being. We don't know the background of the story, but it looks like the world is getting rid of these robots, so Chris calls in the extermination squad. Since he lives in a remote secluded area, he has to keep the robot with him much longer than he would like. And so a bond begins to form between him and the robot Sissi. A very pleasant surprise, and I have to say that I may never have seen a robot this well acted. [Festival de Cannes 2024]

Gilles Lellouche and his fourth directorial effort is set over the course of twenty years and is such a pleasant and moving journey into the world of love that transcends not only time, but also social differences, injustices and personal tragedies. The film boasts a great cast featuring a successful young generation of actors such as Adèle Exarchopoulos, François Civil, Vincent Lacoste are accompanied by amazing greats and veterans such as Benoît Poelvoorde and Alain Chabat, but I have to say that the youngest and least experienced beginners in the lead roles (Malik Frikah and Mallory Wanecque) are the most outstanding with their performances and certainly have a fine future ahead of them. The only thing that annoys me a bit, and maybe this is petty, but if the characters have brown eyes in adulthood, why do the young versions of them have light eyes? Maybe I'm just a nitpicker. Anyway, the film was very enjoyable to watch because the characters are likeable, the portrayal of the 80s is very good, and it's all accompanied by an absolutely fantastic soundtrack. [Festival de Cannes 2024]

From the very first moment, the film evokes quite heavy feelings. The black-and-white treatment not only creates a very depressing atmosphere connected with the hardships of the time, but also perfectly intensifies the emotional impact on the viewer while watching the fate of the main characters. This aesthetic is not only visually appealing, but also enhances the sense of hopelessness that permeates the entire film. The Northerners are masters at evoking this type of atmosphere, and The Girl with the Needle is no exception. I wasn't really expecting anything else, but I got so much more. What makes this film unforgettable is its very dark and extremely bold ending. It's admirable how the director was able to incorporate such a theme into the story without slipping into cheap sensationalism. The film reflects the hardships of the post-war era, and is also not afraid to highlight the darkest aspects of human nature. I think The Girl with the Needle is a powerful and compelling film that deserves the attention of any lover of quality cinema. [Festival de Cannes 2024]

Since I had the opportunity to spend some time in India, I always like to watch Indian productions, or rather the ones that show the real and everyday life of the people of this huge country full of contrasts. I don’t mean exactly Bollywood 😊 Here we follow the story of Constable Santosh, who is new to the police force, and under the guidance of the experienced Inspector Sharma, they investigate the murder of a young girl from the lowest caste. I think criminal investigation in India is extremely remarkable and fascinating, but in this film it's rather skimmed over – I would definitely recommend the very authentic and successful Indian series Delhi Crime for a better idea. Their investigative techniques, procedures, the level of corruption, and the kind of background they have, or rather don't have, it boggles my mind that they are able to successfully conclude an investigation. But Santosh is definitely not just an ordinary detective story. It opens up a lot of deeper themes that make you think, so you don't leave the cinema completely clear-headed. [Festival de Cannes 2024]

Once upon a time, there was a poor woodcutter and his wife, they did their best to survive – the story takes place during wartime and winter. One day, a small precious cargo falls out of a passing train and turns their lives upside down. I don't want to give away more of the story because I think that if you don't find out anything about the film beforehand, its development is quite unpredictable, and that's what I liked about it. At times poignant, at times dramatic and chilling... I think the animation was very well suited for this kind of story, and it's all nicely illustrated by Alexandre Desplat's haunting score. [Festival de Cannes 2024]

Catherine de Saint Phalle, known as Niki, was an important and multi-talented artist, painter, sculptor and illustrator. In her childhood she experienced very severe traumas that led to deep depression and a suicide attempt. It was during her stay in a psychiatric hospital that she began to devote herself to creative activity. Niki is the directorial debut of the well-known actress Céline Sallette, who shows quite some talent and attention to detail with this film. What I found to be a very interesting move were the scenes where Niki creates her works, or someone is watching and evaluating them, but the viewer doesn't see a single detail, there is not a single shot of her work, which is such a great bait for the uninitiated who doesn't know her works. Which was definitely the case for me, so logically I googled the artist right after the screening. [Festival de Cannes 2024]

Motel Destino is a pretty ordinary love story with a predictable plot, the kind we’ve seen a thousand times, only set in a less typical environment for us. The vast majority of the film takes place in a sex hotel. The sex is not so much on camera, but rather permanently audible out of frame (from the rooms). This film doesn't strike me as anything very interesting or original (except maybe the constant moaning), without much substance, and I don't really see why it was chosen for the main Palme d'Or competition. [Festival de Cannes 2024]