Oh boy.
A tragedy in three acts.
I don’t know how many more films I can watch whose main purpose is to slam a hammer into the amygdala, triggering the most basic emotional instincts, at the expense of originality, ambiguity, depth, or narrative complexity.
But this one is… actually pretty good.
And it even left an impression on me—which is an achievement in itself.
In the first act: a grim depiction of poverty and rebellion. A collection of snapshots from…
Cinema for viewers with strong nerves.
It begins with a very graphic depiction of an animal slaughter, sparing no detail and skipping no frame.
In fact, this very scene already reveals what Baigazin’s film is about—executioners and victims, the strong and the weak.
It’s as graphic and cold as it is symbolic, emphasizing the utter senselessness of a world filled with violence as portrayed in the film.
The minimalism in form, even when paired with the landscapes of Kazakhstan, highlights…
I have quite a lot to say about this film. In its ordinariness and naturalness, Maiwenn's film paradoxically turned out to be one of the most original pieces I've had the chance to see recently.
My feelings during the screening, especially at the beginning, were quite mixed. First and foremost, it was sometimes an exhausting experience. However, as the minutes went by, and really only after watching the entire film, I managed to grasp a certain concept, a sense.
Let’s…
I don’t expect anything more from cinema, and I don’t think I’ll ever see anything greater. If someone made me choose just one film, I would choose The Seventh Seal. It is, in itself, the very definition of cinema.
Much has already been said about it, so I’ll just write what I personally ire the most.
First and foremost, its general focus on difficult themes—existential, religious, philosophical—combined with subtle, bitter humor that comes across very naturally. Even though the story…
