Black and White in Color

Noirs et Blancs en couleur; satire, France / Ivory Coast / Germany / Switzerland, 1976, D: Jean-Jacques Annaud, S: Jacques Spiesser, Jean Carmet, Jacques Dufilho, Catherine Rouvel, Dora Doll, Maurice Barrier

Fort Coulais, French Equatorial Africa, January 1 9 1 5. Nine white French colonists live in boredom, and often get visit by three white German colonists from the nearby fort of German colony Kamerun. One day, the French receive a box with newspapers, and read that Germany and France are at war since August last year. The French thus mobilize local blacks as soldiers and send them to attack the German fort, led by Sergeant Bosselet, but lose when the German machine-gun soldiers. Pacifist geographer Hubert Fresnoy takes over the military command, goes to a local village and persuades the village elder to capture blacks from the savannah to mobilize them in the French Army. Fresnoy orders them to build trenches and start a siege, but then he receives a British commander who informs them that the German Empire surrendered at Yaounde, and that Kamerun is now a British colony. The three Germans reconcile with the nine French, and become friends again. 

Jean-Jacques Annaud's feature length debut film is a biting satire on imperialism, colonialism, patriotism and racism which ravaged the local populace in Africa (and elsewhere), announcing him as an interesting director who tackles rarely talked about topics in cinema. The farcical story of nine white French colonists who read in newspapers that France and Germany are fighting each other in World War I, so they decide to attack the three white German colonists nearby, has a fine sense for all the absurdities and misguidedness of wars, conflicts and colonial rivalry. "Black and White in Color" is directed conventionally and routinely, but its story has more than enough colorful characters. The sole mobilization is already telling: the French recruit local Africans from a nearby village, who sign the mobilization enlistment with their fingerprint, are promised food and a pot as payment, while the French just give them random names: "Your name will be Armand", "Jerome", "Alexis". 

Later, when the military command makes an inventory and realizes they have only 29 rifles for the battle, one of them cynically comments with: "Well, this should be over quickly". Militarism is not the only thing Annaud makes fun of, as religion is also criticized: the two Catholic missionaries collect local cultural religious artifacts to sell them back in Europe, and throw into the fire others they deem "useless". Several clever little details also give the film little sparks here and there (Fresnoy locks himself inside a house, and a man cannot enter it, because Fresnoy's assistant took away the external doorknob as to not be disturbed). The middle part of the long mobilization attempts drag a bit and feel underwhelming, but Annaud knows exactly how to send messages without every turning preachy or intrusive, since all the dead and wounded in this "world war" are local blacks recruited to fight each other, while the three white Germans and nine white French just observe from aside, never fight personally, and get to see the end of the war untouched and unharmed, when they reconcile in the finale that shows all their hypocrisy and damage. The actors Jacques Spessier as Fresnoy and Dora Doll as Maryvonne deliver especially memorable performances.

Grade:+++

Michael Collins

Michael Collins; historical drama, Ireland / USA / UK, 1996; D: Neil Jordan, S: Liam Neeson, Aidan Quinn, Alan Rickman, Stephen Rea, Ian Hart, Julia Roberts, Brendan Gleeson, Seán McGinley, Charles Dance

Dublin, 1 9 1 6. After the failed Easter Rebellion, the Irish rebels are either executed or arrested by the British Army, among them Eamon de Valera and Michael Collins. They are released after two years, and do not give up on Irish independence from the British Empire. After de Valera is again arrested in 1 9 1 9, Collins, serving as the Director of Intelligence of the underground Irish Republican Army (IRA), adopts guerilla tactics and orders assassinations of 14 British military and police officials in Dublin, including an MI6 agent, resulting in "Bloody Sunday". The reprisals go back and forth, until the British make a peace agreement and grant Ireland a form of independence. But since Northern Ireland is to stay part of the UK, and the Irish Free State has to make an Oath of Allegiance to the British King, many dissatisfied Irish politicians rebel, which leads to the Irish Civil War. Collins warns them that this is the best option currently available. He is assassinated in an ambush in 1 9 2 2.

9 years after M. Cimino tried to make a biopic about Michael Collins, director Neil Jordan managed to film this version of it: Jordan knew there would be inevitable controversy regarding it, but to him, the story was simply too good not to be told on the big screens—controversy or not. "Michael Collins" was better received in the English-speaking world than in Europe, where several film critics disputed it. For instance, Croatian film critic Arsen Oremovic gave a negative review, disparaging: "Jordan glorifies an ordinary terrorist, a man who incited murder of people without hesitation". However, said statement is untrue and undue—Collins' main targets were not civilians, but British security and military officials, then de facto an occupying force of Ireland, and thus his guerilla tactics against the much stronger British Army were no different than the one shown in Pontecorvo's "The Battle for Algiers", for instance. Jordan shows an archetypal story of one nation trying to gain independence and decolonization from an empire, shown through the Irish War of Independence, rarely depicted in cinema, and he has a lot of style, inspiration, aesthetic images and flair in the first two thirds of the film. The opening is especially powerful: after the failed Easter Uprising, British officials demand from a British commander: "Show me the ringleaders of this little farce". They then single out several people from the captured Irish rebels, and even kick a wounded Irish man on the ground—Collins, among the lined up rebels, wants to intervene, but Eamon de Valera stops him: "Wait, Michael, wait." - "Until when?" - "Until next time".

Realizing his IRA is no match for the British Army in conventional combat, Collins devises guerilla tactics, with several audacious ventures: for instance, since there is no official photo of him, Collins simply goes to the British headquarters, introduces himself as a British informer (!) going to deliver a report, and then simply walks inside, as his aide Ned Broy allows him to go into the room with intelligence files, where Collins copies the list of all British high ranking officials working in Dublin, to be used as targets later on. IRA then kills all the British military and security officials during their private lives: one man exits from the building, and is shot through the newspaper of an IRA member pretending to be the street vendor; others are shot while in a bathtub or having a dinner in a restaurant. This leads to reprisals, including the infamous Croke Park massacre, where an armored car opened fire on Irish civilians during a football match. Several details in the film are also quite clever (for instance, de Valera is in prison, but spots that the priest has the keys of the gate, so he takes it—and makes an imprint of it on a candle which he then sends via post to Collins, who then simply copies the key design to release him). Jordan does not glorify Collins, showing several of his decisions as questionable but he understands his quest, figuring that independence is rarely achieved without bloodshed. He makes several compromises and sometimes strays way too much from historicity (for instance, Broy was never killed and went on to live all until 1 9 7 2!), whereas Julia Roberts' role as Kitty, Collins' love interest, is underwritten. The last third of the film, depicting the Irish indepndence disagreements and civil war is much weaker, losing a lot of inspiration and ending on a rather underwhelming note. Nonetheless, "Michael Collins" deserves to be seen for its enthusiasm towards Irish history and spirit.

Grade:++

Once Upon a Time There Was a Singing Blackbird

Iko shashvi mgalobeli; drama, Georgia, 1970; D: Otar Iosseliani, S: Gela Kandelaki, Gogi Chkheidze, Jansug Kakhidze, Medea Japaridze

Tbilisi. Gia is a timpani drummer at an orchestra. After the show, he goes to flirt with a ballerina, but then remembers he has an appointment with his friend, a doctor, but then ditches even him and goes on with another set of friends. He goes to the apartment of a girl he likes, but she rejects him. Gia lives in the apartment of his mother, and they get a visit from relatives. Gia wonders the city, meeting women who all reject him, and visits his friends, like a clockmaker, goes to a restaurant and watches a football game on TV. The next morning, as he turns and looks at another woman, he is hit on the street by a car and dies.

Included in a local poll as one of the 12 best films of Georgian cinema, Otar Iosseliani's drama is a good, but still overrated and decisively standard. Following 36 hours in the life of a timpani drummer, Gia, who is privately so restless that he goes from friend to friend, from woman to woman, all without ever truly connecting with any person, "Once Upon a Time There Was a Singing Blackbird" speaks about superficiality of human relationships in the modern era and ADHD individuals whose hyperactivity is a poor substitute for true closeness, but all this is neither that compelling nor engaging. This could have been a short film, and it wouldn't have lost anything. There is one truly excellent moment in the entire film: since he needs to use the timpani on the drums only at the beginning and ending of the orchestra, Gia, after it starts, takes his bowtie off and goes to the nearby musician playing a brass instrument, takes his tie off and then simply leaves (!) to go to the apartment of his mother to attend the birthday of his aunt. An hour later, the stage manager is nervously looking at his watch and walking through the hallway, when Gia finally shows up, returns to his place in the orchestra and then drums to signal the end of the concert. Truly genius, and this was probably the reason that inspired to make this film in the first place, but the rest is just one aimless meandering of the protagonist through the city, almost like a felliniesque set of episode without the felliniesque. There are some neat unusual scenes and moments here (live X-rays of a man's lounges for ten seconds in a hospital; Gia enters a chemistry class and wants to drink water from the faucet, but the professor takes his glass away because it was filled with poison...), but overall, nothing really ignites on a higher level after that sequence of Gia leaving the concert.

Grade:++

Hostage for a Day

Hostage for a Day; comedy, Canada, 1994; D: John Candy, S: George Wendt, John Vernon, Christopher Templeton, Robin Duke, PJ Torokvei, Kathleen Laskey

Warren has had enough: his wife Elizabeth takes more care about her dog than about him, as she forgot his birthday and took the money from his bank account to pay for the renovation of their house; his father-in-law is also his boss; and he only managed to get a paid leave in October from his dreadful job of a copy and print office. Warren thus straps a fake dynamite kit around his waist, changes his voice and pretends that two kidnappers took him hostage in his house, demanding 50,000$ or they will blow up the place. Elizabeth calls the police, and now Warren is surrounded in the house. Two real Russian kidnappers show up, but he manages to escape from them, take his father-in-law's money and escape with his old acquaintance Diana to Alaska.

The only film directed by the legendary comedian John Candy before his too early death, "Hostage for a Day" is a surprisingly melancholic comedy about people who, realizing their current life is going nowhere, decide to take on a drastic choice to change it to live the way they want to. Comedian George Wendt is very good in the leading role of the annoyed Warren who is slowly losing his patience, and some of the best jokes revolve around the running gag of him seeing the face of his own alter ego in reflections, advising him what to do (when Warren aims a fake pistol at a mirror, he goes: "Talkin' to me?", as his alter ego shows up in the reflection and says: "Yeah, I am, I'm talking to you!"; the alter ego appearing in the reflection of water in a kitchen sink, so Warren just drains the water with him; or the finale where, after Warren's crazy act, his alter ego appears in a side-view mirror: "Despite how nuts you appear at the moment, in reality you are the sanest you ever been!" - "Of course, people who really are nuts probably talk just like this"). The plot tangle where Warren pretends he is taken hostage and distorts his voice for the police, imitating kidnappers, could have been developed in much sharper, wittier and better ways, with far more inspiration than the rather often too lukewarm set of jokes that appear, which is why the dramatic moments almost seem more memorable than the comical ones ("See, you keep looking for quality in a relationship. I keep trying to tell you: the secret to a long-term relationship is complete and total disregard for quality"), but even these attempts at philosophical contemplations about life have some merits.

Grade:++

Four White Shirts

Četri balti krekli; drama, Latvia, 1967; D: Rolands Kalniņš, S: Uldis Pūcītis, Dina Kuple, Līga Liepiņa, Pauls Butkēvičs

Riga. Julijs Kalnins, nicknamed "Caesar", is a telephone installer who in his free time writes songs and performs in a band called "The Optimists". He is in a relationship with Bella. However, he reads a negative review from Anita, a member of the Communist Cultural Committee, who disparages his lyrics for being incompatible with Communist ideology. Julijs talks with Anita, who lives in his residential buildings, and says he refuses to change his lyrics to suit the government decree. On a meeting of the Cultural Committee, the board members all use Anita's negative review as a reference to ban the songs, even though they never heard them. However, Anita changes her mind and supports Julijs, but too late. Julijs refuses to change his lyrics, and thus drops out of the band. 

"Four White Shirts" is a bitter criticism of any kind of government censorship or meddling into art to try to change it only for ideological reason, not for its quality, sending a message that artists should be given autonomy and freedom to do what they want—and considering the main protagonist shares his last name with the director of the film, Rolands Kalnins, the hidden messages are even more obvious. Since the film was banned by the Soviet occupation authorities, it actually reached an ironic full circle. "Four White Shirts" has a genius opening: four white shirts are hanging outside on a rope, while its film title is written on a wall—and then the camera pans down, to "follow" all the opening credits of cast and film crew written with a chalkboard on the ground. Very creative, but unfortunately, nothing ever comes close to this playfulness later on in the film, which is conventionally directed. A clever and refreshing idea is that the protagonist Julijs actually has a chance to talk to the critic Anita who gave a negative review of his song, since she is his neighbor and lives in the same building. When he becomes too cynical in her apartment, she threatens to call the police, which causes him to slyly remark with Bella: "She seems to call everybody and probably feels better after that." - "She's about to call the police!" - "On a direct line through the electric iron? There are no phone lines installed!" Julijs even makes fun of Anita in another sequence: "I was at a kindergarten. She pulled off a doll's head to see if it really had sawdust inside." Another stylistic moment is a random scene of a mime who swipes with his hand at a woman smiling who is left with a serious face, as he "takes" her smile away and "gives" it to himself, smiling, and then takes it away and gives the smile to another man by again swiping in front of his face. The rest of the film is a bit overstretched, stale and standard, especially in the underwritten role of girlfriend Bella, but its themes of integrity still strike a chord today. 

Grade:++

Carbon

Carbon; satire / black comedy, Moldova / Romania / Spain, 2022; D: Ion Borș, S: Dumitru Roman, Ion Vântu, Igor Caras-Romanov, Adriana Bîtca, Viorel Cornescu, Ion Coșeru

A small town in eastern Moldova, August 1 9 9 2. The country is preparing for its first independence day after the collapse of the Soviet Union, but Goreshist Russia ordered war criminal Igor Smirnov to carve up a puppet state, Transnistria, which leads to war. Dima, an unemployed lad, decides to enlist to the Moldovan army because veterans will receive an apartment, and he wants to settle there with his girlfriend. Dima persuades a former Afghan war veteran and now farmer, Vasea, to drive him in a tractor to the battlefront. However, along the way, they find a burned corpse of a man on the ground. Vasea insists they must burry him properly, but in the hospital they say to get a certificate from the priest, who in turns tells him to get a certificate from the police, who in turn sends them to the mayor. When a fake rumor spreads that the corpse is actually of Smirnov, four Russian mafia thugs capture Dima, Vasea, the mayor and the policeman, but let them go when Smirnov turns out to be alive. Dima takes care of the corpse, a separatist, while Vasea gives him the keys to a new apartment.

The higest-grossing Moldovan film in Moldovan cinemas at that time, with over 150,000 tickets sold at the local box office, "Carbon" is a moderately interesting satire on the country's specific past, in this case the Transnistrian War. The director Ion Bors does not have that much inspiration, nor a sense for how to conjure up a good gag, but its symbolic story touches the nerve of the country's collective consciousness, depicting the bitter time of the Transnistrian separatism in a comical, absurd way through the story of two clumsy men who want to burry an unknown, burned corpse, but only encounter bureaucracy and sloppiness, which also says a lot of about the mentality of their society—a nurse tells them to first get a death certificate from the police station, but once there, Vasea finds the doors locked, as the policeman is in his back yard, preparing pork for a wedding, so Vasea has to take a knife and shave the pig from the sides. Dima and Vasea then go to a priest, but he is more preoccupied with blessing a new car with holy water, as its owner shoves him money in the pocket. Dima and Vasea finally call the mayor to give them a permit for a burrial, and the first thing when he arrives at the policeman's back yard and sees the corpse covered by a blanket, is to think it is the pork. Several absurd situations appear in the second half: in one of the best, as the Russian thugs appear to search for the corpse in an Orthodox church, Dima, Vasea and another man hide it under a cloth, kneel in front of it, and claim it contains the holy remains of Saint Ictirian. Despite the wacky and ridiculous situations, they are still grounded: especially memorable are little clips from Russian TV, accusing Moldovans as "fascists" to try to cover for the Russian-controlled puppet state of Transnistria, which rings even more true as the film was released during the 2022 Russian invasion of Ukraine, with similar imperialist cliché excuses. "Carbon" never truly ignites into some outstanding moment, and thus feels more like lukewarm fun.

Grade:++

Trikal

Trikal; drama, India, 1985; D: Shyam Benegal, S: Leela Naidu, Sushma Prakash, Nikhil Bhagat, Anita Kanwar, Neena Gupta, Soni Razdan, Dalip Tahil, Naseeruddin Shah

Ruiz Pereira returns in a car to his now abandoned mansion in Goa. He remembers his life 24 years earlier, during the Portuguese rule of Goa: Ruiz is one of the many Portuguese people attending a funeral of the influential Ernesto. His widow, Dona Maria, refuses to accept his death, tries to summon his ghost during sessions with her maid Milagrenia, and orders that her granddaughter Ana should marry the student of medicine Erasmo. Francis is in love with Aurora, Ana's sister. However, Ana is in love with her old acquientance Leon, an escaped convict hiding in their basement. Ruiz was in love with Ana, but since she rejected him, he starts a fling with Milagrenia, who is left pregnant. Ana is also left pregnant from Leon, much to the shock of her mother Sylvia who thinks she ruined their family reputation. The Indian attack and takeover of Goa scatters the family: Ana and Leon leave for Lisbon; Milagrena marries an older man and also leaves. Back in the present, Ruiz leaves the mansion.   

"Trikal" is a rare film depicting the life of the Portuguese Goa exclave before the 1 9 6 1 Indian attack and annexation, connecting the isolated lifestyle of the colonial families there with the historical changes during the decolonization of Asia in the second half of the 20th century. Hindu actors here play Portuguese characters, but speak Hindi and Konkani languages. The opening act is the best directed thanks to the competent director Shyam Benegal, elegantly setting up everything: a man in a suit, Ruiz Pereira, travels in a car through a village in Goa, stops and enters an empty mansion, as a flashback appears in the same scene, as men are carrying a coffin behind him, and the viewers are transported to 24 years in the past. As people are mourning a dead man in bed, Ernesto, Ruiz the narrator introduces several characters in the room, and finally points to a young lad among them: "That is me 24 years ago". As the grandmother (and now widow) Dona Maria sits in a chair and loudly listens to music, ignoring the funeral, she speaks in Portuguese, but then Ruiz the narrator says: "Let's switch to a language we can understand", and she (and everyone else) start speaking Hindi for the rest of the film. The funeral is a symbol for the end of the Portuguese rule in Goa—but the characters don't know it yet. 

After the funeral, a man holds a speech for the guests at the table: "He left among us his good wife, a nice daughter. And other than that, some beautiful children... of which some are present here", igniting a chuckle among the crowd. The daughter, Syvlia, complains: "He shouldn't have said that", as her husband says: "Your father was like that. Who knows how many children he has?" The hypocrisy of the family is already set-up here, showing how these people accept Ernesto's illegitimate children, but will attack the granddaughter Ana and maid Milegrena for their "illegitimate" pregnancy. The debates among the locals about the political situation and the Indian blockade is interesting to listen to: "So now Indians will rule here?" - "Why not, aren't we Goan Indians?" - "Not at all. We are citizens of Portugal." - "That's why general Ferry sent the entire army to Africa. Portugal will not protect Goa." - "We want our own country. Where there will be our own culture and people". Finally, Mr. Simon concludes: "Where a person was born, grew up, resided, that's his culture. Our country is a blend of many beautiful colors. And its most beautiful color is Goa." The anxiety, fears and uncertainty of these characters, who do not know what their future will look like, is palpable, as one woman comments how there will be no more flights from Goa to Lisbon. The husband and his wife contemplate: "There is no reason to be worried." - "We are Portuguese citizens. If the Indian army arrives here, they will put us in jail." Benegal later drops politics and focuses more on the love relationships, walking on a thin line between a soap opera and a more aspirational drama, but the big mistake is the absence of the sole Indian takeover of Goa—only some brief shooting is heard during the night and a character mentions it off-screen—since this would have been fascinating to see. This reduces the film's potential, yet it is aesthetic, without typical Bollywood dancing, and allegories on the Portuguese family not realizing their lifestyle and traditions became "obsolete".

Grade:+++

Salt for Svanetia

Marili Svanets; silent docudrama, Georgia, 1930; D: Mikhail Kalatozov

The Svan people live on the northern mountains of Georgia, still following ancient traditions. Village Ushguli is surrounded by towers and walls to keep feudal tax collectors at distance. The people travel to mountains, chisel layers from them, drag them on a travois without wheels, and use them as riles for rooftops. They collect grains, threshing them via another travois carried by a cow going in circles. There is a lack of salt in the area, so men often travel to bring some. An elderly man dies, and since it is considered bad luck to give birth during a funeral, a pregnant woman is banished from the village: she gives birth alone, but the baby dies, so she drips her milk on the soil of its grave. In order to rid the village from this isolation and backwardness, the new Soviet government organizes workers to build roads and connect the village with civilization. 

Voted in a local national poll as one of the 12 best films of Georgian cinema, "Salt for Svanetia" is an hour-long ethnographic silent film that was presented as a documentary, but is in reality a docudrama where anonymous actors stage and recreate the events of an isolated, backward village, Ushguli, in northern Georgia. How much all of this is authentic is debatable, but the director Mikhail Kalatozov has an impressive visual style consisting out of unusual camera angles (the point-of-view of a bucket being raised up on a tower by a rope pulled by villagers), frames, huge close-ups and contrasts between the small people filmed in wide shots of majestic mountains in the background, thus making this "ordinary" depiction of a backward village much more cinematic than expected. Some scenes are even comical: for instance, in order to underline what a huge "shortage" of salt there is in this mountainous area, the camera shows a goat licking the sweat from a head of a sleeping peasant, his legs, and even cows licking a spot after a man urinated behind a wall, because even urine has salt. It is interesting watching this hermetic culture, with some unusual situations (during one day in July, a shadow of a cloud covers the entire mountain, and snow suddenly falls, so the villagers have to quickly pick the grain before it freezes—how much of this is authentic, remains unknown) and poetic scenes (the mother dripping milk from her breast on the soil where he dead baby is buried), all showing the harsh nature and huge efforts of the locals to live and try to survive—with a propagandistic excuse in the end, namely that Soviet industrialization is needed to save these villagers from backwardness and isolation, and a road that will connect them with civilization and make their lives easier. Despite these convoluted prearranged set-ups, "Salt for Svanetia" is an impressive and expressionistic depiction of a peculiar place and culture.  

Grade:+++

The Boys (season 5)

The Boys; fantasy thriller series, USA / Canada, 2026; D: Phil Sgriccia, Karen Gaviola, Catriona McKenzie, Sylvain White, S: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Laz Alonso, Tomer Capone, Karen Fukuhara, Valorie Curry, Colby Minifie, Susan Heyward, Cameron Crovetti, Jensen Ackles, Giancarlo Esposito, Emma Elle Paterson

Billy "The Butcher", Hughie, Annie / Starlight, MM, Frenchie and Kimiko develop a virus that can kill any superhero, but when they test it in a house, two superheroes die, but the third one, Soldier Boy, turns out to be immune due to his V1 shots during Vought experimentation. Homelander thus starts a quest to find the last V1 vial to inject himself. It is held by superhero Bombsight, who appears when The Boys take his ex-fiancé as a hostage in the retirement home. Soldier Boy takes the V1 vial and gives it to Homelander, making him thereby indestructible. Homelander declares himself the ruler of the United States, settles in the White House, starts persecuting any opposition, and decides to call himself God, even killing Soldier Boy for disobeying him. Replicating Voughts experiments, Frenchie is able to give Kimiko Soldier Boy's powers: the ability to take superpowers away from a superhero. In a daring raid, The Boys enter the White House during a live TV speech and take Homelander's powers away. Billy then kills Homelander. When Billy wants to release the anti-superhero virus the next day, Hughie shoots him.

Season 5 is a grand—and worthy—conclusion to the hyped superhero fantasy thriller series "The Boys", based on the comics by Garth Ennis, staying true to its satirical tone and messages. Similarly like the previous season, this one also starts with the 1st episode that is practically a masterwork, brilliantly set-up, planned and executed, but after it, the story falters, meanders and feels a bit unfocused, yet the last two episodes form a finale that is so stunning and satisfying that it brings down the house, a one that compensates for any omission. The middle episodes feel as overstretched fillers at times: especially in the weak episode 5.4, whose concept of a negative energy that possesses the heroes in the abandoned factory, causing them to argue and fight, feels too esoteric and vague, almost incompatible with the rest of the series which strives to be more grounded. Likewise, it is kind of annoying to constantly have the protagonists going on a wild goose chase, instead of focusing more on the main concept of a totalitarian dictatorship of a superhero, Homelander. This is noticeable in the "mixed bag" episodes 5.5 and 5.6: the search for a V1 vial is a bit tedious, with a very late and unnecessary introduction to a new superhero Bombsight, as well as unfunny "splatter violence" cameos of celebrities in Hollywood who die when a superfast superhero accidentally goes through them in a mansion (including Seth Rogan, the series executive producer). Nonetheless, some observations about modern America are so ingeniously subversive that you wonder how the authors managed to get away with them in a big budget production. Its theme is that "power corrupts, and absolute power corrupts absolutely", but it also observes how people who could have stopped this descent into a dictatorship just failed and bent over, and how the masses are controlled through propaganda. There are some moments that are "creatively impossible", yet they filmed them anyway, and you watch with awe at how this impossible plays out on the screen. 

Some of the best bits are in already aforementioned 1st episode, 5.1—Homelander's concentration camps are called "Freedom camps", with an entrance sign saying "Freedom shall set you free!", whereas inmates wear "uniforms" with Homelander's face and an American flag on their shirts. The government officials are persecuting any anti-Homelander Starlight fans, while the news call them "Marxist Starlighters". Homelander's assistant Sage has enough courage to tell him: "No matter how much power you amass, it will not make you happy". One also needs to single out A-Train who undergoes one of the most fascinating character transformations on the show, starting as a negligent, arrogant egocentric, but then redeeming himself, joining the anti-Homelander coalition and becoming a true superhero. Homelander becomes a symbol for how patriotism, nationalism and religion can become a mental trap—in a death's-head hawkmoth syndrome, many people will just listen to the frequency of their ideology, and not pay attention to the actual enemy slowly taking over and exploiting them. As Homelander's egoism reaches grotesque levels, and no checks and balances of power remain, his cult of personality becomes a source of several black-humored jokes: for instance, the painting "Washington Crossing the Delware" has been changed, now featuring Homelander in Washington's pose, whereas he even has outrageous hallucinations of an "angel" telling him: "But who is more loved than Jesus? And why should he have more love than you? ... You baptize the unfaithful in their own blood", de facto advising Homelander to kill anyone who opposes him. "They'll call me a monster." - "No, the only ones left will be your faithful." After that, Homelander announces that he is "God", and all his sycophants just nod and accept the latest downgrade of life standards, with one, Firecracker, offering him "The American Testament" in "Homelander Bible". A giant commentary on the mental illness called totalitarian dictatorship, "The Boys" is a warning that it takes different shapes and sizes throughout times, but its detrimental effects on humanity are always universally disastrous. But it does so with a lot of humor, clever ideas (in 5.3, a superhero aims her telekinetic powers against Hughie, but instead of him, she just kills the invisible man, because she didn't "see" that he was standing right between them), whereas several characters are colorful (in 5.6, MM says: "The whole world's gone crazy, I'm just catching up!"). The finale is cathartic and exciting, elegantly ending the series, leaving the viewers shaken and thinking: what if this totalitarian takeover would happen to your country?

Grade:+++

Extraordinary Exhibition

Arachveulebrivi gamopena; drama, Georgia, 1968; D: Eldar Shengelaia, S: Guram Lordkipanidze, Valentina Telechkina, Vasil Chkhaidze, Dodo Abashidze, Salome Kancheli

Tbilisi after the end of World War II. Sculptor Aguli returns from the front back to his home and father Pipinia. Aguli has a giant marble rectangular cuboid in his back yard and plans to make a sculpture out of it, "Spring Lights". However, in the meantime he makes granite busts for the deceased at a graveyard, a well paid job. He marries Russian woman Glafira, who gives birth to their twins, and then another twins, and then a boy. Aguli argues with his father and briefly leaves home to have an affair with his childhood love Tina. He returns back to Glafira, and while wondering off to the graveyard, he sees his "exhibition" of busts. Aguli then hands over the marble cuboid to his apprentice Zaur. 

Voted in a local national poll as among the 12 best films of Gerogian cinema, Eldar Shengelaia's humorous drama "Extraordinary Exhibition" is a bitter tale of how people have their dreams, but life forces them to accept ordinary jobs and never gives them the chance to use their full potentials, yet it does so with a lot of colorful humor and uplifting energy. The film starts with the protagonist Aguli, a sculptor, planning to make a special sculpture out of his giant marble rectangular cuboid, and ends with this same marble left untouched decades later, as he gives it to his apprentice who overjoys with a plan to do wonders with it—solidifying the allegory of this theme, hoping only that the next generation will have it better. Some of the humor really is well done—for instance, Aguli's telegram ("I will exhibit my new work "Spring" in the autumn..."); his tendency to try to add "artistic touches" to a bust of a deceased, so his widow as angry that her late husband's looks are not identical to the bust; or Aguli's argument with his dad, also a war veteran ("It was you who run faster than your own horse at Port Arthur! Well done, the Japanese!"). Shengelaia has good shot compositions, but the story is meandering and not always engaging, with several episodes (20th anniversary of classroom reunion with benches outside of ruins a fortress) that seem rather superfluous and unnecessary, whereas not every character is that interesting.

Grade:++