Mutants have been practically eradicated. There are only a few left – those who manage to hide very well. One of them is Logan (Hugh Jackman), whose age is starting to show in the decreased tempo of his healing. He takes care of Xavier (Patrick Stewart), whose age is in turn showing in the dementia he developed. They are constantly at risk of being discovered. When Logan is asked to drive the young Laura (Dafne Keen) to Canada, he smells trouble and tries to refuse. But Laura won’t let herself be refused. She is like Logan in many ways and definitely a mutant. And she is pursued by an organization that means her harm. Laura forces Logan to face the world and his place in it.
Logan is probably the most emotionally mature superhero film, at least of recent years. Nevertheless, I’m not quite as taken with it as many other people were.
Ten years after the events of Trainspotting, Sick Boy inherits a pub in Leith from his aunt, so he leaves London behind where things haven’t been going that well for him anyway, hoping to be on the winning side of gentrification for once. But before things take off in that direction, Sick Boy finds himself hosting an amateur porn shoot in his pub. But Sick Boy isn’t the only one returning to Leith: Begbie is being released from prison and even Renton returns from his exile in Amsterdam, hoping to avoid pretty much everybody he knows from back then, except maybe for Spud who is desperately trying to stay clean.
Porno was an excellent continuation of Trainspotting, but also different in many ways. It’s a strong book, looking at some of humanity’s worst traits without losing all hope entirely.
Mathilde (Lou de Laâge) works at a doctor for the red cross just after World War 2. She finds herself dispatched to Poland to take care of the concentration camp survivors and the French soldiers stationed there. It is in the hospital there that a young nun, Maria (Agata Buzek) from a near-by convent finds Mathilde and begs her to help them at the convent as well: they were raped by Russian soldiers and many of them are pregnant as a result. And not only do these pregnancies come with the usual dangers, but should anybody find out about their state, they would risk losing the convent, their home, entirely.
Les innocentes tackels a hard topic and it does so with a lot of sensitivity, but also a couple of lenghts. But I did enjoy it and the push it makes for solidarity among women.
Tanya (Alina Khodhzevanova) realizes one day that nothing about her life really makes sense to her. Her father is an alcoholic, her boyfriend brings other women home – while she’s there -, her mother is distant. She really has no joy in her life. Her conclusion is to attempt suicide. But it doesn’t work out that way and she finds herself in a psychiatric hospital where she starts to knit – both literally and figuratively.
I Know How to Knit was described as a dark comedy, a heartwarming tale in dire circumstances. Unfortunately, all I found were dire circumstances and depression, and very little humor.
Aisholpan dreams of one thing and one thing only: she wants to become an Eagle Huntress and prove her skills in the big annual competition where all of Mongolia flocks together. The only problem is: girls don’t become Eagle Hunters. But Aisholpan’s father Rys doesn’t care too much about these traditions and he wants to see his daughter succeed as well. So together they embark on the training mission.
The Eagle Huntress tells a good story that I enjoyed watching, even through its more manipulative moments.
Laila (Kalki Koechlin) has cerebral palsy but the much bigger issue is that she has to share her room with her brother (Malhar Khushu). Despite difficulties and worried parents (Revathy, Kuljeet Singh), she gets the opportunity to move from India to New York for her studies and that’s just what she does. Being on her own in a foreign country prompts a journey of self-discovery that leads Laila to co-student Jared (William Moseley) and Khanum (Sayani Gupta), a young blind activist from Pakistan who lives in New York.
There should be more films in the world like Margarita with a Straw: films that feature a queer, disabled women of color as their protagonists and tell a touching, funny story about them.
Eli (Nadiv Molcho) and Maya (Aya Beldi) were in love until about a year ago when their relationship went down in flames. By chance, they meet again at a party and take the opportunity to reflect on their relationship. As they walk through Vienna and talk things through, maybe they’ll be able to shed new light on past events.
History of Now is obviously Molcho’s passion project and it shows in every minute of the film that he is a very young man – with emphasis on both the young and the man part. The result is okay, but not really my cup of tea. Maybe because I never was a young man.
Lockhart (Dane DeHaan) works for a company in trouble. They need their CEO Pembroke (Harry Groener), but he has been unreachable in a retreat in the Swiss mountains for a long time, so they send Lockhart there to get him. Once Lockhart arrives there, he is involved in an accident even before he gets to see Pembroke. His broken leg traps him at the retreat and he realizes that something strange is going there. The director Volmer (Jason Isaacs) may be hiding something. And what’s the deal with Hannah (Mia Goth), the only young person there who has spent basically her entire life at the retreat?
A Cure for Wellness is a clusterfuck of epic proportions. It’s overly long, makes no sense and is incredibly sexist, racist and ableist to boot. It’s pretty but that’s all it has going for it.
Entomologist Leo Charpentier (Anders de Wahl) spends most of his time with his research and very little time with his wife Irene (Tora Teje). Especially since he has his niece Marthe (Karin Molander) who takes care of his every need. Irene actually doesn’t mind that much because she’s very busy flirting with the dashing aviator and baron, Felix (Vilhelm Bryde), though she’s actually drawn more to her husband’s best friend, the sculptor Preben (Lars Hanson).
Erotikon is an amazingly funny film. While the live-music-setting usually calls more attention to the film music, in this case, I found the film so captivating that I barely noticed the music.
Die Komödie der Irrungen
Director: Herbert Fritsch
Writer: William Shakespeare, translated by Sabrina Zwach
Cast: Sebastian Blomberg, Simon Jensen, Dorothee Hartinger, Stefanie Dvorak, Mavie Hörbiger, Petra Morzé, Klaus Pohl, Falk Rockstroh, Michael Masula, Marta Kizyma, Merlin Sandmeyer, Dirk Nocker, Hermann Scheidleder
Seen on: 26.2.2017
Merchants from Syracuse are currently forbidden from entering Ephesus. To Egeon’s (Klaus Pohl) he is discovered in the city. Moved by the sad story of how many years ago, Egeon’s twin sons were separated, together with the twin servant boys and how Egeon search for his lost son has brought him to Syracuse, Solinus (Michael Masula) grants him a day to find the money needed to buy himself free. Meanwhile Egeon’s son Antipholus (Sebastian Blomberg) and his servant Dromio (Simon Jensen) also arrive in Ephesus. Once there, their paths cross the Ephesus versions of Antipholus (Sebastian Blomberg) and Dromio (Simon Jensen) – only they don’t know it. Confusions ensues.
The Comedy of Errors is an absolutely nonsensical play – and Fritsch’s hyped-up brightly colored production of it sets the perfect tone to make it fly.