Mr.Dogman

Seen at the Los Angeles Premiere on 10/27/21. I will tell you this: walking into a Diana "biopic," I did not expect to see a psychological horror with unnerving (and weird!) music and myth-like ghost appearances. It caught me off guard - in the best way possible. I did expect to see beautiful cinematography (reminiscent of the beauty of Portrait of a Lady on Fire), top notch performances and beautiful locations. Spencer, however, misses a little bit of emotional depth and, on the other hand, could use a little less of the metaphorical soap opera. This is a fitting 4.5/5 but for the "Tell them you saw a ghost!" scene, I will grace it with a 5.

Necessary re-telling of medieval stories that basically proves that masculinity is a performance. One with beautiful sceneries, pretty terrifying folklore monsters and really good sound design at that. Came here for the horror, stayed for the folklore and character study.

Not just a story about queer love, but a story about power dynamics, about wanting what's not good for you and about losing yourself in the moment: both in love and in the pressure of responsibility. The atmosphere of Young Royals is extra sticky thanks to its gloomy setting and music.

A story about privilege, about "nothing is stolen on a stolen land," and about how weird resorts and the rich in them are. Music and screenplay are stand outs.

Simply a recording of New York kids hanging out as an act of resistance. That's New York bro -- and it's sick. Also, the sound design is on point.

Watching Nomadland feels like looking at a Hudson River school painting rather than a film. But, the film's narrative turns this American classic seen in galleries all over DC into a story of the early 21st century. Nomadland's base revolves around the beauty of American landscapes, the vastness of it all, and the invitation to explore and "pioneer" that comes with it. In contrast is the reality of the changing America, one of economical and social division in which the majestic landscape is a background for the struggling Americans and a reminder of the original "Americans."

The themes of matriarchal kin reinforced by the frequent use of mantra-like imagery is truly beautiful and heartwarming. Much needed for the other, devastating theme: one of destruction, blind leadership and solitude.

Lyricka poezie skrze jemnou kameru, genialni strih, precizni zvuk, kouzelnou hudbu a zcela prekavpive strikpy klasicke mestske industrialni poezie.

This is a film about exploring one's identity through the strict lens of tradition. A tradition that is heteronormative but juxtaposed by the fact that dance can be soft and feminine. Yet, Merab's feminine moves are viewed as inconsistent with the tradition. In other words, the tradition is a literal performance of masculinity. Merab has a sense of pride in the dance ritual but why be proud of something that contradicts your very existance? Then there is the issue of economic struggle yet the persistence of pride. Another beautiful theme is the relationship between him and his mother and grandmother that’s obviously very sweet and child like but also very adolescent (he supports them economically) and there is also a tangible tension between them (possibly from his fear of them not accepting him). And lastly, one of the most beautiful themes is the the romance, which is sourced from competition. Merab's attraction to Bachi's character is one of admiration, the very gay type of admiration. The one that goes like: “do i like you or do i want to be you?”

The pacing of this film is impeccable. It's the reason why New York feels so rarely frightening, why male gaze goes from ever-present to fully absent, why the bond between the girls is formed by gratitude without ever explicitly acknowledging it, and most importantly why the climax of the movie is a one-take scene that's "just like a multiple-choice questionnaire." Very well done. This is what female filmmaking looks like.