Plot: Tasya (Andrea Riseborough) has a very special job: she takes over people’s bodies, using them to fulfill her company’s missions – usually assassinations. It’s a job that doesn’t allow for errors, and it definitely doesn’t allow its operatives to lose sight of who they are. But Tasya has had some troubles recently, and her new job – taking over Colin (Christopher Abbott) – might be more than she can handle.
Possessor has a really good concept and came with some accolades, but ultimately I’m afraid that I expected a little more than it delivered. Which doesn’t mean that it isn’t an engaging and thoughtful film worth your time.
Plot: Morf (Jake Gyllenhaal) is an art critic, always looking for something new and good. But currently, he is rather more occupied with Josephina (Zawe Ashton). She works in the gallery run by Rhodora (Rene Russo), hoping to become a successful agent herself, and Morf is deeply in love with her, despite having a boyfriend. When Josephina finds out that a recently deceased tenant in her building was an artist who wanted to have all his art destroyed upon his death, she is convinced that his art is something special. She is not wrong, though she couldn’t have foreseen what kind of special it really is.
Velvet Buzzsaw is visually engaging, and has a great cast who obviously had a lot of fun chewing the scenery in this one. But the metaphor at its heart feels a little flimsy and could have done with a little more work.
Plot: Sarah (Sarah Small) lives the hectic New York Life behind for a few days to spend it with her friend Isolde (Isolde Chae-Lawrence) at a Balkan song and dance camp that takes place in the middle of a forest. They spend their days talking and drumming and singing and talking some more – until they have a falling out over an apparent triviality and Sarah starts pursuing Steph (Charlie Hewson).
Butter on the Latch is Decker’s debut feature and having seen (almost all) her films now in (almost) reverse chronological order, it is clear how much she has grown as a filmmaker since her first film. But that doesn’t mean that Butter on the Latch doesn’t have good qualities. It is still a very strong debut.
Plot: Akin (Joe Swanberg) comes to work on the farm of Jeremiah (Robert Longstreet) and his daughter Sarah (Sophie Traub). Jeremiah and Sarah are an odd pair. Jeremiah is always on the verge of insulting and ridiculing Akin, and Sarah seems to be only half in reality. Akin settles in awkwardly, especially since he is hiding that he is actually married. Sarah seems interested in Akin, and Akin starts to be drawn to her as well, but there is a touch of violence to everything.
Thou Wast Mild & Lovely is an unusual film that cultivates a sense of “everything being off” until things really escalate in a suprisingly bloody way in the end. It’s not the easiest thing you can watch, but it is worth thinking about.
Plot: Working as a companion to Mrs van Hopper (Ann Dowd) has brought the unnamed protagonist (Lily James) to Monte Carlo where Mrs van Hopper spies Maxim de Winter (Armie Hammer), whose somewhat tragic story precedes him: he is a widower and lives at the grand estate of Manderley, now all alone. When Mrs van Hopper falls ill, the protagonist and Maxim de Winter start to spend more time with each other and finally he asks her to marry him. But living in Manderley, where the shadow of Maxim’s deceased wife Rebecca hangs over everything and her housekeeper Mrs Danvers (Kristin Scott Thomas) makes sure it doesn’t leave, proves quite a challenge for them.
Rebecca is an okay adaptation of a really excellent novel. That squandered potential leaves a film that is decidedly meh, but very pretty.
Plot: When Frances (Chloë Grace Moretz) finds a handbag in the subway station, she makes sure to return it to its owner, widow Greta (Isabelle Huppert). Greta, a retired piano teacher, seems lonely and the kind-hearted Frances resolves to spend some time with her. But soon things start to become a little weird. There seems to be more to Greta than Frances suspected at first.
Greta has unfortunately more holes than plot and for a film that tries so hard to lure people on the wrong path, that is more than unfortunate. It breaks the film.
Plot: In the hotel Alpenrose in Styria, everything seems to be alright. Travelers Karin (Andrea Maier) and her mother (Greta Kostka) are enjoying their evening at least. But shortly after Karin dies in an accident. Only she isn’t really dead. And she isn’t the only undead around: when a Nazi widow (Renate Stoppacher-Rainer) starts an underground cinema that shows movies that celebrate the fascist past, it draws zombies to the area.
Die Kinder der Toten is incredibly absurd. While I may not have liked everything about it, I really enjoyed it. And I definitely haven’t seen something as strange in a long time.