The Whale

The Whale; drama, USA, 2022; D: Darren Aronofsky, S: Brendan Fraser, Sadie Sink, Hong Chau, Ty Simpkins, Samantha Morton

Idaho. Charlie is an English literature teacher who teaches his students online, but never turns on his laptop camera. The reason is because Charlie is ashamed of his 600-pound body. Ever since his gay lover Alan committed suicide due to "religious guilt", Charlie has been living inside his apartment, binge eating. Alan's sister and nurse, Liz, occasionally drops by to take care of Charlie, urging him to go to the hospital because his blood pressure is 238, but he refuses due to medical expenses, saving all his money for his daughter Ellie (17), whom he abandoned when he divorced 8 years ago to be with Alan. Ellie is only there to ask Charlie to write an essay for her for homework. Thomas, a missionary for New Life Church, visits to try to convert Charlie. When Charlie is on the verge of a heart attack, he asks Ellie to read her essay about "Moby Dick" for him.

"The Whale" is a movie that is a tough, depressive, but also essential watch, symbolically speaking about how it feels like to bear the weight of the world on your shoulders. This is the situation the main 600-pound protagonist Charlie finds himself in, since he made several bad choices in life which all come back to take a toll on him, even though he meant no harm. He is played excellently by Brendan Fraser, in a very unusual casting that pays off and shows his emotional side. There are moments that are gruesome (for instance, in one scene Charlie chokes while eating, and since Liz cannot do the Heimlich maneuver since he is sitting on the couch, she has to turn him sideways and kick his back), and the obesity subplot seems like an unnecessary gimmick at times, but after a while, the viewers forget about Charlie's weight, and only see the characters since their personalities are fascinating to watch. The whole film is only one sequence, playing out practically on only one location, Charlie's apartment (since it is based on the eponymous play by Samuel D. Hunter), featuring only five characters, but their interactions are mesmerizing. 

Besides Fraser, the other four actors are also excellent, especially Sadie Sink as Charlie's passive-aggressive teenage daughter Ellie, and Hong Chau as the caring nurse Liz. One of the sharpest dialogue comes when Ellie confronts missionary Thomas with her cynicism: "What I like about religion is that it assumes that everyone is an idiot and that we're all incapable of saving ourselves. I think they've got something right with that. What I don't like about religion is that when people accept Jesus or whatever, they suddenly think they're better than everyone else. By accepting the fact that they're stupid sinners, somehow they've become better and they turn into a***". The whole story is built on character interactions and emotions, the center being Charlie, who lost everything and has decided to practically commit suicide through binge-eating. But he is intelligent, caring and educated, and surprises several times. In one scene, he admits to Liz he feels sorry for Ellie, as he browses her social network profile and realizes she does not have that many friends. He even offers Ellie to write her essay for homework and pay her (!) just so that she can spend some time with him. She resents him for not being part of her life for 8 years, but he just tragically counters with: "Who would want me to be part of their life?" "The Whale" is an ode to outsiders living on the margins, who are neglected by the society because they are deemed "unattractive", but it shows that, if people just give them a chance, some of these outsiders are actually brilliant minds with a whole array of wisdom and feelings like everyone else—it is just that their minds are trapped in wrong physical circumstances. It may be a little strange to mention it, but "The Whale" has emotional weight that is even bigger than its protagonist.

Grade:+++

Koke

Koke; drama, Croatia / Serbia, 2026; D: Igor Jelinović, S: Snježana Sinovčić-Šiškov, Aleksandra Janković, Šimun Šitum, Stojan Matavulj, Ana Marija Veselčić, Leon Lučev, Dara Vukić, Mare Rodin

Split. Tonina and Tajana are two middle-aged sisters. But while Tonina is taking care of their old and sick mother, changing her diapers and washing her, Tajana doesn't want to participate and lives carefree with her husband Milan, son Ivan and daughter Linda. Tonina wants to help Ivan, who graduated journalism in Zagreb, to find a job in Split. Toinina lives with her husband Bartul and daughter Tana. Tonina secretly buys a flat on the island of Hvar from relative Željka, but since she and Tajana agreed to buy it off together, Tajana is angry. Even Ivan is angry and assaults Tonina in her backyard. Tonina renovates the flat to host tourists there. On their mother's birthday, Tonina reveals the mother signed the house ownership over to her, which angers Tajana, while Ivan even spits on Tonina.

Igor Jelinovic's feature length debut film is a quiet meditation on the clash of two lifestyles: the diligent and the carefree; contemplating what is rewarded more in the end, and if that privilege itself is earned. Filmed in a realistic, raw style, with wide shots done in one take as the camera drives left and right to go from character to character talking, "Koke" finely captures the specific Dalmatian mentality of these colorful characters. The dialogues are rather standard and routine, and there are not that many surprises, which would have helped to transcend the typical mold of these kind of social dramas. Some of the best moments are Tonina watching Ivan's YouTube video where he laments that he does not want to be considered responsible for plastic pollution since he is only the consumer, but not the producer, alleging that the corporations producing plastic are to blame for not making a different kind of product; as well as a few neat lines here and there ("You cannot worry about all the troubles in the world!"). The clash of the two sisters over land ownership (first of a flat in Hvar, and then over the whole house of their mother) slowly consolidates a tighter story out of these episodes, culminating in an intense arguing in the finale during the their mother's birthday party and family gathering, though the story could have even started right where it ends in the film. The locations of Split and Hvar are untypically filmed during winter time, signaling the "cooling" of relationships between the two sisters, whereas Snjezana Sinovcic-Siskov stands out the most in the dignified, ambitious and calm portrayal of Tonina, the leading character. 

Grade:++

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 ever turning preachy or intrusive, since all the dead and wounded in this "micro 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 conceit. 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:++

Blue Mountains, or Unbelievable Story

Tsisperi mtebi anu daujerebeli ambavi; satire, Georgia, 1983; D: Eldar Shengelaia, S: Ramaz Giorgobiani, Vasil Kakhniashvili, Teimuraz Chirgadze, Sesilia Takaishvili

Tbilisi. Writer Soso delivers two copies of his manuscript for a novel, titled "Blue Mountains, or Tianshan" to a publishing house, and the editors assure him that they will read it. But they don't. Soso keeps showing up in the building, asking editors Vaso, the director and Irodioni if they read it, but they always have excuses, citing that they are busy. Months pass, and Soso keeps showing up in their offices, but nothing changes, they just keep him waiting. During a committee session, the dozen officials all say they will yield towards the opinion of the majority, but nobody read the manuscript. A crack appears on the ceiling, the building collapses, they all relocate to another building, but keep their mentality of stalling.  

"Blue Mountains" is one of those movies that are classics in their home country, but much weaker when seen outside in the rest of the world. The problem is not in the topic, which is surprisingly relevant and universal—but more so in the rather lax, too conventional and slow execution, which drags. The concept of a writer who wants to publish his manuscript, but nobody at the publishing house wants to read it, is a bitter satire on problems of artists who want to follow their dream, but don't have the means to achieve them—who knows how many amazing films and novels were never made just because producers or publishers didn't want to bother with "unknown" authors? Unfortunately, the director Eldar Shengelaia does not have a sense for comic timing nor how to build up a joke, since the movie is overstretched and not particularly funny. In one of the best moments, writer Soso delivers his manuscript to the director of the publishing house, "Blue Mountains, or Tianshan", but the man does not even listen to him, and instead just superficially talks about some people on motorcycles playing "motorball" with a football on the field seen through the window, to get rid of him as soon as possible, feigning he will read both "Blue Mountains" and "Tianshan", not even realizing these are the same title, not two different manuscripts. The director even has this exchange with him: "Soso, you must be more active. Bother people!" - "I am bothering you". - "Good!" As cracks start appearing on the ceiling of the publishing house, and one overweight official even pulls the entire window to open it, the allegory takes on grotesque dimensions about the decay and collapse of inefficient bureaucracy and incompetent institutions not doing their job, but this cannot quite compensate for the fact that the film is at times a little bit boring.

Grade:++

Slice of Life

Slice of Life; science-fiction short, Croatia, 2019; D: Dino Julius, Luka Hrgović, S: Anton Svetić, Ivica Pustički, Emilija Habulin, Miran Šabić, Karla Zelić

In a metropolis in the future, a man in a flying car is trying to sell as many drugs as possible to earn 100,000 credits for a space trip to another beach planet. However, since he is 10,000 credits short, he robs an ATM machine. A corrupt cop makes a photo of him and blackmails him, demanding the money for himself. The man and the cop fight in a toilet, and the cop is killed. However, the man misses the flight and now has to wait another year for the next opportunity.

In one of the best Croatian independent short films in the last twenty years, directors Dino Julius and Luka Hrgovic crafted a homage to "Blade Runner" by releasing it in the year it plays out, remarkably re-creating its mood and aesthetics. "Slice of Life" was filmed in their house garage, using matte paintings, miniature models, walls and an old car, filmed in Blackmagic Design 4K camera—but it all looks so fantastic it is incredible. There is not much of a story or directing skills in here, it's all style over substance, but the huge close ups and meticulous eye for little details (drops dripping from a faucet, the hero typing in numbers on his laptop to crack the password of an ATM machine, the mouth of the corrupt cop eating ribs, a silhouette of a flying car passing by over a screen of a mouth of a woman in a TV commercial...) all create a stunning aesthetic and visual style that looks so modern that it has weight. No character speaks a single line (except for the off audio of TV commercials heard from screens), but everything is clear in this simple story of greed and fight for money, as the hero wants to flee to another world in time. You can almost smell the odor of some scenes (the hero removing rats from a restaurant dumpster and taking some noodles in a paper box to eat; him lighting the cigarette of the brand "Slice of Life" in the finale) and feel the rain seen in so many frames. It is a remarkable and impressive film, stylish to the cinematic boiling point. Villeneuve's "Blade Runner 2049" is not the true spiritual sequel to "Blade Runner"—it is the much more worthy "Slice of Life".

Grade:+++

Eliso

Eliso; silent historical drama, Georgia, 1928; D: Nikoloz Shengelaia, S: Kira Andronikashvili, Aleksandre Imedashvili, Kokhta Karalashvili, Tsetsilia Tsutsunava, Aleksandre Jorjoliani 

The Caucasus, 1864. Goreshist Russia wants to expel Chechens from a village in order to resettle Cossacks there, using it as a springboard for further imperialism and colonialism towards the south. A Chechen girl, Eliso, is in love with a Georgian lad, Vajia. Her father Astamur, the village elder, hears from commander Seidulla that they are to be evicted from their village. The Chechens all sign a petition that ostensibly says they want to stay, but Seidulla then reveals that, since they cannot read Cyrillic, the petition actually stated that they "voluntarily" signed on to leave the village. Vajia goes to a Russian military outpost, battles the soldiers and forces the general to issue a decree allowing the Chechens to stay. He brings the document to Eliso, but it is too late, the Chechens are already moving. Astamur says he only regrets that they didn't burn the village behind them, so Eliso runs back, sets the village on fire, and returns back to the caravan. Vajia wants to marry Eliso, but since he is a Christian, and the Chechens now blame every Christian, Astamur rejects his proposal, and Eliso travels with the Chechens into the Ottoman Empire.

Ranked in a local poll as one of the 12 best Georgian films of all time, "Eliso" is an ethnographic study of the peoples in the Caucasus as well as a historical lesson about the deportation of the Chechens during the 1864 Circassian genocide, which is a subject touched upon only indirectly. Their deportation in the end also marks the end of the Romeo & Juliet-type couple, the Christian lad Vajia and Chechen Muslim woman Eliso, who departs with her nation. Using wide shots of the mountainous region, whose desolate nature becomes an allegory of human cruelty and rough nature, the director Nikoloz Shengelaia crafts an economic, but also intimate and ambitious portrait of rural people who are not sophisticated, but still have more honor, humanity and integrity than the Russian military that is encroaching them. Two most memorable sequences: in the first, Vajia enters the Russian military outpost and eventually starts a fencing duel with three Russian soldiers, having only one sword and a shield in his hands. He jumps on a table, one soldier grabs his leg and pushes him to fall down, but Vajia simply continues fencing with them, lying on the ground (!), and then going under the table for cover. In the second, the Cossacks are heading towards the village on horses, but a hundred Chechens villagers simply sit on the ground, thereby blocking their entrance, since the horses stop and refuse to trample on humans. The maniacally fast editing of the Chechen dance sequence is also unusually hyperactive and dynamic for the silent movie era, creating its very own rhythm. The ethnic cleansing in the finale advances into a symbol for human suffering due to intolerance and selfish plans of remote people in power, advocating for universal human rights and sanctity of lives which should never be interrupted. 

Grade:+++

Silence

Silence; historical drama, USA, 2016; D: Martin Scorsese, S: Andrew Garfield, Adam Driver, Tadanobu Asano, Yosuke Kubozuka, Shinya Tsukamoto, Liam Neeson, Issey Ogata

In 1639, using a Japanese local Kichijiro, Portuguese Jesuit priests Sebastiao and Francisco travel from Macau to Tomogi, Japan, to find out what happened to priest Ferreira who went there to convert Japanese to Christianity. Sebastiao and Francisco find a group of Japanese Christians hiding from the authorities, who are killing Christians. Eventually, they are discovered and arrested. Francisco tries to save four people tied up and thrown into the ocean from the boat by the authorities, but drowns himself. A government Inquisitor Inoue tries to persuade Sebastiao to renounce his religion to save other captives from death. When Ferreira shows up and reveals he renounced Christianity and blended in with the Japanese, to save locals from the death penalty, Sebastiao does the same. Inoue sends him to live with a widow whose husband died. 

In one of his weakest films, Martin Scorsese practically made a pamphlet for Christianity. Based on the novel "Silence" by Shusaku Endo, the film's historical setting of two Portuguese priests trying to keep up a Christian stronghold in Japan in the 17th century is interesting, but its story is simply too boring and too long at an overlong running time of 160 minutes, with monotone, ordinary dialogue that have no inspiration. The whole film is too thin, without much to connect to movie goers, except as an ode to persecution of Christians. Scorsese uses a wonderful, gorgeous cinematography (a bird's-eye view of a ship sailing on the ocean; the camera spinning around priest Ferreira who is turned upside down by the authorities for preaching Christianity; an occasional contrast between huge close-ups of someone's head and the panorama in the background...), but it is all technicalities, and no substance or essence. One of the rare examples of some awe is the disturbing sequence of Japanese Christian Mokichi who is tied up to a cross near the shore with two others, and as the ocean levels rise in the evening, the waves are splashing them well over their heads, as priest Sebastiao observes from the hill, and narrates how "it took Mokichi four days to die". However, except for their struggle, and Sebastiao's wondering about God's silence, not much is here to deserve to invest the viewers' time to watch these events. The Portuguese tried to assimilate a Japanese area through their religion, but failed. That is the core theme that is avoided in the story. Another is the appeal for freedom of religion. However, for such a topic, the story and execution warranted a richer inspiration.

Grade:+

The Boys (Season 4)

The Boys; fantasy action thriller series, USA / Canada, 2024; D: Phil Sgriccia, Karen Gaviola, Fred Toye, Eric Kripke, S: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Jessie T. Usher, Tomer Capone, Laz Alonso, Karen Fukuhara, Colby Minifie, Valorie Curry, Claudia Doumit, Giancarlo Esposito, Chace Crawford, Simon Pegg, Ann Cusack

Superhero Homelander wants more power, so he unexpectedly hires Sage, the most intelligent woman in the world, with the power of self-regenerating brain, to be his advisor. They concoct a plan to have superhero Victoria Neuman run as Vice President to US President elect Bob Singer, so that she can kill him, take over, and be de facto Homelander's proxy. Homelander gets a new assistant: Misty / Firecracker, who leads an internet propaganda campaign to always attack his enemies. Meanwhile, Billy, MM, Frenchie, Kimiko, Annie January / Starlight and Hughie from "The Boys" team up with A-Train who gives them secret information he heard from Homelander. They release Stan Edgar, who leads them to a secret laboratory that developed a virus that can kill a superhero. Just as Victoria shows up to talk with Hughie to team up, Billy, having injected Compound V in himself, kills her. Homelander announces martial law to hunt down all the "Starlighters". 

The fourth season of "The Boys" once again shows what a patchwork and mixed bag it is: it has both one of the best episodes of the entire series, 4.1, where everything is so meticulously written and planned down to a T, and every little detail and action has a why and because; and one of the worst episodes, 4.6, drowning in sado-masochistic excess and banality. All the seasons are like that— inconsistent, walking between genius and garbage. Yet this one is among the better ones, with insane satirical allegory on modern American society, whereas Karl Urban and Erin Moriarty are once again excellent in their roles as Billy and Annie January / Starlight, respectively. Antony Starr is disturbing in the role of the villain-superhero Homelander, who seems like the evil, degenerate Superman from "Superman III" won in a fight against the good Clark Kent and went on a quest to gain more and more power, in a totalitarian aim to rule (and re-shape) the entire country. As the previous seasons warned, if someone is given unlimited power, how can there ever be a normal society based on rule of law? Who will stop him from doing crimes or abusing everyone? Episode 4.5 embodies these disparate traits of "The Boys". On the one hand, it addresses these problems of absolute power when Ryan orders a director to apologize to his female assistant for harassing her, but his apology to her ("I'm sorry if I exploited our inequitable power dynamic and made you feel uncomfortable") actually refers to Homelander standing right next to Ryan, in his rule of fear over humans. 

The new character of the super-intelligent superhero woman Sage has some wonderful wisecracking comments ("Y'all just think I'm stupid poor white trash", says Homelander-fanatic Misty / Firecracker, as Sage replies: "I don't think you're poor"). The bizarre joke where The Boys go to a top secret rural laboratory, but its superhero components accidentally leaked into the ground and "contaminated" some of the animals, so they encounter "superhero chickens" at a farm who are so invincible that they cannot be killed when shot at, is hilarious. But the flying sheep, revealed later on, were just stupid and too much. The same goes for Homelander's "revenge" against the laboratory scientists in episode 4.4 who experimented on him when he was a kid—it goes into extreme violence and torture, and is kind of a stretch (would all these same people still be working in the exact same place after 20 years? And after no more superhero experiments are necessary?). And as one scientists ironically adds, even as a kid, Homelander could have simply broke the laboratory door and walked away anytime he wanted. The worst episode, 4.6, involves Hughie dressed up as a superhero, but stuck in a dungeon of a rich sadomasochist, in an awful and unnecessary sequence of explicit perversions. Yes, upstairs in the mansion, all the billionaires and Homelander are planning a coup d'état to take over the US, but their perversion and decadence is already elaborated enough without a need to show the infamous dungeon sequence, as already Sage's comment at seeing so many billionaires in the mansion is sharp: "38% of the US GDP is in this room." The conspiracy theory convention episode 4.2 is also very funny and subversive, summed up in a simple scene where Sage asks: "What are you selling?", and Misty replies: "Purpose. These people got nothing." Different directors yield different results per episode, but season 4 has so many surprises that it is at times incredible (even Will Ferrell has a delicious cameo; the deal between Neuman and Misty in case she becomes the Vice President: "No teaching of critical Supe theory"; Sage orchestrating an internet anti-Starlight campaign, "until 100 million people are outraged by Starlight for reasons they cannot explain"), with politics taking over the center stage. But then again, through its themes (corruption; false idols; domination of the upper class (in this case, the superheroes); criminals covertly taking over the entire country through propaganda claiming they are the good guys), politics was the inevitable outcome already established in the first season. 

Grade:+++ 

Mr. Klein

Monsieur Klein; war drama, France / Italy, 1976; D: Joseph Losey, S: Alain Delon, Juliet Berto, Michael Lonsdale, Jean Bouise, Jeanne Moreau

Paris, World War II. Robert Klein is an art dealer living at 136 Rue du Bac, earning a fortune by cheaply buying valuable paintings from Jews who are looking for fast cash to escape the totalitarian dictatorship and Nazi persecution. One day, Klein finds a newspaper for Jewish news, Informations Juives, even though he is not a subscriber. Investigating, he finds out another Robert Klein, an anti-Nazi resistance member, is using his name. Klein finds his namesake's empty apartment and obtains a photo of his associate, a woman called "Isabelle", "Kathy" and "Françoise". Since the authorities are suspicious of his heritage, Klein orders a record of his family's history confirming none of them were Jewish. Klein decides to sell all his paintings worth 10 million francs, while his lawyer Pierre gives him a fake passport so that he can flee abroad. Klein meets Nicole in train, his namesake's associate, and decides to return back to Paris to meet his namesake. Klein and his namesake, and all the Jews, are all arrested by the police, gathered at a fenced detention center, and then further sent to sealed-off trains into the unknown. 

American director Joseph Losey made an excursion into France by directing this critically acclaimed film that depicts the Holocaust and the persecution of Jews during the Nazi-German occupation of Paris in a subtle, indirect, even allegorical and abstract manner, incorporating surreal and mystery elements from Franz Kafka's "The Trial". The latter is the films biggest weakness: too much symbolism used in the protagonist's search for his namesake, a Jewish underground resistance member, as well as too many unanswered questions in the end, take away and distracts too much from the main topic of the Holocaust, which should have been shown in classic fashion without this kind of artistic obfuscation. Nonetheless, it is a slow-burning, powerful, intelligent and ambitious film with an excellent leading role by Alain Delon as Robert Klein. The opening sequence is extremely powerful: a middle-aged, overweight woman stands naked in a clinic while a doctor is measuring her head ("Naso-labial space normal. Septum slightly flattened. Lower lip fleshy. Jaw typical for non-European races."), trying to determine if she is Jewish or not. In one simple situation, "Mr. Klein" already establishes the context and feeling of the society during that time. 

As Klein tries to find his namesake (who is never seen in the entire film), he attracts suspicion of the authorities, causing only more and more problems for him. Even though Klein is not Jewish, but Catholic, he is still provisionally given the same restrictions as other Jews, causing his protest in front of the police officers who came to raid his home ("My painting... I'm not allowed to buy or sell. No more bars, no restaurants, no cinemas, nothing! Everything's forbidden! They say I can't go anywhere, even to a public piss-house! Just because my grandmother's birth certificate is missing"). The anxiety, paranoia and that feeling of dread and helplessness as Jews (or anyone suspected of having Jewish heritage in family) had their human rights shrinking from day to day, are the strongest points of "Mr. Klein", without having to spell everything out in heavy-handed messages. And this works better than the symbolism which comes across as staged and too artificial (for instance, the dog that follows Klein on the street even though he is chasing him away, because the dog's owner was Klein namesake). Losey directs the film conventionally, but he has a strong story, and some scenes are clever, nonetheless (the scene at the train station where Klein is saying farewell to his lawyer Pierre, while his namesake is right behind him, his back turned towards the camera, saying farewell to his associate Nicole in the train). Some moments are more entrenched in the subconscious than the logical (why would Klein suddenly decide to return to Paris, to seek his namesake, despite the danger?), but the finale is so devastating and disturbing, while staying perfectly calm all the time, that the viewers will not be left indifferent. 

Grade:+++  

The Boys (season 3)

The Boys; fantasy action thriller series, USA, 2022; D: Phil Sgriccia, Julian Holmes, Nelson Cragg, Sarah Boyd, S: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Dominique McElligott, Tomer Capone, Jessie T. Usher, Laz Alonso, Karen Fukuhara, Colby Minifie, Jensen Ackles, Giancarlo Esposito, Chace Crawford, Simon Pegg, Ann Cusack

Billy "Butcher", Hughie, MM, Serge and Kumiko find out that the former Vought superhero, Soldier Boy, was not killed during the Cold War in Nicaragua in the 80s, but is actually held in a coma in a compound in Moscow, so The Boys travel there, kill some Russians and release Soldier Boy, hoping to use his superpowers to kill Homelander. Annie, aka Starlight, gives The Boys some new Compound V doses, which, when injected, give them superpowers for 24 hours. Billy uses these injections for his mission, but it gives him a terminal illness. Queen Maeve cooperates with them because she also wants to kill Homelander. Annie, Hughie, Serge and MM refuse to kill Homelander while he is inside the Vought building, fearing hundreds of people will be killed with him in the clash, so Billy, Maeve and Soldier Boy ditch them and go to Vought on their own. Upon finding out Homelander has his and Becca's son Ryan with him, Billy wants to cancel the assassination to save Ryan, but Soldier Boy refuses, so he is thrown out from the building and arrested. Maeve loses an eye in a fight with Homelander and thus decides to leave to hide from him.

The 3rd season of "The Boys" is better than the 2nd, but still weaker than the 1st. It has suspense, an energy rush, and is addictive, but also makes mistakes in excessive splatter violence, as if the authors at times try to engage the viewers more with shock value than with genuine intelligence and confidence in their own style. This is already obvious in the first episode, 3.1: a superhero has shrinking powers, so a gay man asks him to shrink and go inside his penis (!), in a bizarre, ludicrous moment that seems like a bad screenwriting idea, especially in the bloody (and uncalled for) conclusion. All episodes end on a "cliffhanger", but then the next one does not seem like a natural continuation of this plot point, since the screenwriters seem to go on in circles instead of advancing the plot, to prolong the series. At times, "The Boys" seem like a superhero soap opera; other times, they seem like a more ambitious, intricately plotted, subversive commentary on modern American society: just imagine Homelander is the richest man in the world, a billionaire who can buy any influence and bribe any politician, and then you get the bigger picture. Is there justice in such a society? Does an ordinary man have equal rights as Homelander? The theme is the decadence of absolute power, just done through the superhero genre. Homelander is a superhero who becomes evil through corruption of his own ego, and slowly establishes a superhero aristocracy. Even when a reporter asks one critical question on TV in episode 3.6, Homelander calls it a "mediocre ambush" and simply walks away, displaying full impunity.

Some more inspired moments of writing shine. For instance, Homelander cares about his approval ratings among the audiences, and is informed that his teaming up with Starlight has a 94% approval. In episode 3.4 Homelander provokes Hughie, who stands up to him, but luckily Starlight intervenes and warns Homelander: "Touch him, or anyone he cares about, and I'll walk and take my approval points with me." As Homelander decides to take over Vought and expulse the CEO of the corporation, Stan Edgar (excellent Giancarlo Esposito), the two of them have a fabulous dialogue in said episode: Stan is an ordinary human, without superpowers, but he is perfectly calm, intelligent, with impeccable manners and wit. Homelander goes: "You're just... nothing", and Stan replies: "Then why are you still here, waiting for my approval like I'm your daddy? And even if I were, what would there be to approve of? The company is yours. No one left to stand up to you. But I think you'll come to sorely regret that." Some characters show growth and development: A-Train was careless about his negligent actions in the pilot episode, but when he sees the racist arrogance of fellow superhero Blue Hawk who injures black people, including A-Train's brother ("Black lives matter!" - "Supe lives matter!") in episode 3.5, A-Train changes and apologizes to Hughie later on. There is also a fascinating moment in episode 3.7 when Black Noir goes from a one-dimensional to a three-dimensional character, when he imagines cartoon characters (!) are recreating his trauma with Soldier Boy in front of him. Episodes 3.6 and 3.7 are excellent, but the final episode is a botched finale. Just as Black Noir became interesting, he is killed. Why? A wasted opportunity. The Boys retrieved Soldier Boy from a coma to use him to kill Homelander, but then in the last episode they split into factions, and again into different factions, until all this crumbles into pieces and becomes inconsistent and obfuscated. Their disagreement over how to kill Homelander feels unworthy of a contrivance, and should have been handled better.

Grade:++

The Butcher Boy

The Butcher Boy; psychological drama / crime, Ireland, 1997; D: Neil Jordan, S: Eamonn Owens, Stephen Rea, Alan Boyle, Andrew Fullerton, Fiona Shaw, Aisling O'Sullivan, Milo O'Shea, Sinéad O'Connor

A small Irish town during the Cuban missile crisis. Francie Brady (12) lives with his alcoholic father and suicidal mother. Francie runs away from home and spends some time at a cinema and reading comic books, but when he returns, his mother has died. His only friend is boy Joe, but Mrs. Nugent advises him against seeing Francie, whom she deems as mentally unstable and a "pig". As a revenge, Francie causes a mess and defecates at her place, and is thus sent to a reform school. When a priest tries to molest him, Francie is released by the principal under the promise to keep quiet about the incident. Dad dies while Joe disappears from the town. Francie finds him in a catholic school, but Joe says he is not his friend anymore, so the priests throw Francie out. Francie finds a job as a butcher boy and kills Mrs. Nugent, hiding pieces of her corpse under cabbage waste. The police arrest him and he spends 30 years at a mental asylum. As a grown up, he is released from the institution.

"A Clockwork Orange" meets "Problem Child"—something like that could be used to describe this bizarre patchwork by Neil Jordan, based on the eponymous novel by Patrick McCabe. The protagonist in question is a mentally ill boy, Francie, and his aggressiveness should be discouraged, which makes Jordan's job of trying to somehow explain his behavior by showing him as a victim of traumatic childhood somewhat unconvincing. The story also seems lost, meandering through several episodes, which all comes across as aimless. The topic seems to be wrong, but Jordan still directs the film with a lot of creativity and black humor: the idea that the narrator speaks with Francie in one scene 36 minutes into the film is genius; whereas Sinead O'Connor is fabulous as Holy Mary in four brief scenes, who talks to Francie as an apparition. One great laugh has Holy Mary being absent for a very long time in the final third act, and when she finally appears again next to a grown up Francie, he just turns around and says: "Hi, stranger!" Jordan even goes so far to make fun of pedophilia in Catholic church in the scene where Francie, in a reform school, is telling about his vision of Holy Mary, while a priest (Milo O'Shea) is leaned on right behind him, as the narrator goes: "So there I am, telling him the story, and the next thing his hand is jiggling in his pocket. What are you doing there, Father Teddly? Pay attention!... Just what is one half of Father Teddly doing over with the boot case, and the other half on the floor?" Though this subplot should have been developed further, and not just glossed over like it is a trivial thing. Some little details are exquisite (a cupcake spinning on a record player; Mrs. Nugent's two brothers want to scare Francie by holding his face down in a river, after a while he stops moving, so they panic and run away—but later, when a shocked Joe turns him around, Francie smiles in the water, because he just faked that he drowned). Can a story about a mentally ill child killer be translated into great art? In this case, not quite. But it is still a good, albeit controversial film about wrongly adapted individuals whose lack of social skills just make them ruin their life even more.

Grade:++