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KEYWORD: #humor #extraterrestrial

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CAST: Marc-André Lapointe, Réal Brunette, Ariane Deveau, Annie Charbonneau, Nicolas Pouliot, Claude Frenette, Guillaume Marien, Geneviève Brunette, Luc Boudrias, Charles Morrisseau, Julie Boudrias, Rémi Morrisseau, Métis Chong

GENRE: Adventure, Science Fiction, Action, Comedy, Fantasy

SYNOPSIS:

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PRODUCTION: Universal Pictures, Indigo Film, Pathé!

GENRE: Drama

SYNOPSIS: "Loro", in two parts, is a period movie that chronicles, as a fiction story, events likely happened in Italy (or even made up) between 2006 and 2010. "Loro" wants to suggest in portraits and glimps, through a composite constellation of characters, a moment in history, now definitively ended, which can be described in a very summary picture of the events as amoral, decadent but extraordinarily alive. Additionally, "Loro" wishes to tell the story of some Italians, fresh and ancient people at the same time: souls from a modern imaginary Purgatory who, moved by heterogeneous intents like ambition, admiration, affection, curiosity, personal interests, establish to try and orbit around the walking Paradise that is the man named Silvio Berlusconi.

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Politics is entertainment now. Just one long performance. Witness Silvio Berlusconi who foreshadows the rise of Trump (the two are remarkably similar). Loro satirizes Berlusconi as he starts to lose his grip on power about ten years ago. Under Berlusconi the route to influence and authority is not through enlightenment or better ways of doing business, but trafficking young women, reality shows, lavish parties, yachts and cocaine. Loro doesn`t just take a dim view of Berlusconi, it provides a realistic portrayal of the man. We see the charming salesman who understands human nature and capitalizes on this knowledge. Truth is in tone of voice. "I don`t know," says Berlusconi "I understand." Toni Servillo`s brilliant performance as Berlusconi heightens this effect. The average Italian, Berlusconi maintains, has the intelligence of second grader. Altruism is the best way to be selfish, for in this way he appears to be good. The ultimate judgement is left to Berlusconi`s wife Veronica. "You had the opportunity to help Italy and its people," she says "but you helped yourself instead." Besides Veronica, there are intriguing portraits of other characters in Berlusconi`s orbit. One of them is a very successful, intelligent and beguiling escort. "Girls like me," she says "are stupid when we dream." Loro provides a fascinating, raw, imaginative and frightening look into the realities of modern politics from the uniquely in-your-face Italian vantage point. It is as wacky as it is cerebral. The film is fast paced and jarring in a good way. Seat shaking base music, rapid dialogue, incredible island villas, stylish clothes, impressive machinery and eye-popping nudity kept me on the edge of my seat. Loro is disjointed at times because there is so much going on, but the general effect is pleasing. The ending of the film is totally unique and perfect for the subject matter; what is important hopefully survives the disaster of modern politics. Knowledge and interest in Italian politics is recommended. Seen at the 2018 Toronto International Film Festival.

CAST: Toni Servillo, Elena Sofia Ricci, Riccardo Scamarcio, Kasia Smutniak, Ricky Memphis, Euridice Axén, Fabrizio Bentivoglio, Roberto De Francesco, Dario Cantarelli, Anna Bonaiuto, Giovanni Esposito, Ugo Pagliai, Ricky Memphis, Duccio Camerini, Yann Gael, Alice Pagani, Caroline Tillette, Iaia Forte, Michela Cescon, Roberto Herlitzka, Lorenzo Gioielli, Pasqualina Sanna

Trailer: LORO Trailer | TIFF 2018 [HD]

KEYWORD: #italy #politics #sex_trafficking #political_corruption #berlusconi #drug_culture

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SYNOPSIS: Yoel, a meticulous historian leading a significant debate against holocaust deniers, discovers that his mother carries a false identity. A mystery about a man who is willing to risk everything to discover the truth.

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To some, setting any genre fiction against the background of the Holocaust diminishes that horrendous experience. This film manages that powerfully by presenting two complex investigations in one. The very orthodox Jewish scholar Yoel doggedly searches for evidence of a massive slaughter of Jews in a small Austrian town in the last days of the war. Here Lansdorf stands in for the historic Rechnitz. The film uses actual interview clips from Austrian witnesses. Indeed their tapes carry the most colour in the film. Yoel`s real life plays out in scenes of black and white with occasional hues — books, the fruit bowl, some furniture — providing fleeting relief. That`s because, as we will see, this orthodox Jew lives in a black and white world. The Holocaust`s massive presence is imaged in the warehoused files and the shots where the characters shrink against the landscape and its buried memories. Yoel`s campaign is urgent because he`s trying to prevent the town`s paving over the graveyard site to expand the town. He wants the Jewish bodies found, identified and properly buried first. While the orthodox Jew feels compelled to remember the past, the modern city developers want to forget it and move forward with their development. The Austrians refuse to admit the slaughter happened. This narrative has a happier ending in the film than in reality: Yoel finds the grave and the list of the 200 victims. The Rechnitz grave has not been found. Equally compelling is Yoel`s personal discovery — that his mother was not Jewish. So — because of the maternal line of Judaism —he isn`t. She was the daughter of a Jewish family`s maid. When her mother ran off they raised her. Because she loved those Jews she went with them to the concentration camps. On the eve of her gas chamber death she married a Jew. Her new religion brought her peace and strength as she entered the chamber. Miraculously, the gas failed to work. Two days later the Americans came. Her new husband gave her Yoel. This discovery rips Yoel`s identity apart. His entire sense of himself is based on his identity as an orthodox Jew. His Lansdorf campaign is based on his orthodox integrity and his commitment to uncovering the absolute truth. Not his truth or someone else`s, but The Truth. He admits no alternative "narrative." In fact this orthodox Jew is not that good a human being. Being orthodox does not always mean being a mensch, unfortunately. His broken marriage attests to his failure as a husband. His harsh criticism of his bar mitzvah son shows him not a sensitive father. And as a son? His mother dies from his brutal exposure of "the truth." He is also callous towards his assistant and cruel toward the elderly woman who might know where the grave is. (She proves right.) But he`s an Orthodox Jew — until he discovers he`s not. He is so committed to orthodoxy that he cannot continue to live as an orthodox Jew. Hence his clip and shave and shuck of ID. The discovery disturbs only him, not the others. The rabbi tells him not to change because of his mother`s true identity. His secular Israeli boss agrees, because his skills and service don`t depend on his faith. His sister is outraged because admitting their mother`s non-Jewishness would also disqualify her, her children and her grandchildren. His ex would never let him see their son again. But Yoel`s integrity — shaped by his orthodoxy — also compels him to stop being what he has believed himself to be and now thinks he`s not. As it happens, as soon as he sheds his orthodox identity he finds the mass grave. Whether that`s God`s approval or a mark of his clearer thinking, once disencumbered of his rigid religiosity, or just coincidence, it doesn`t matter. He solves the case when he comes clean. But his integrity comes at a huge cost. In addition to his sister`s family, he himself is now deracinated. Having defined himself exclusively as an orthodox Jew, what is he now? His discovery has erased him. Where his mother warmly embraced Judaism on her own volition, without outside redefinition or confirmation, Yoel finds that accident of his birth disqualifies him from his lifelong self. His dilemma speaks volumes in the continuing Israeli debate over the qualifications for being a Jew. Indeed, despite his heroic achievements in research Israel`s orthodox can no longer accept him. But you don`t have to be Jewish to find this film`s pertinence. Really, who are you? What you feel you are or what others say you are? And what purpose does religion serve if it is not to enhance the community of man instead of fragmenting it and causing bloody divisions? So here`s a film that manages to survey the horrors of the Holocaust, to address the modern age`s attempts to deny, to conceal, even to perhaps repeat it —as the witness compelled to hide from today`s resurgent antisemitism. And yet the film reaches further, to challenge the impositions and constraints by which any religion — or any other system, social, political, economic, etc. — reduces our common humanity.

GENRE: Drama, History

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Trailer: The Testament (Ha edut) | Teaser Trailer [HD]

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This film is about the triple Olympic champion in figure skating, and film star Sonja Henie. Sonja Henie is one of the most famous Norwegian people ever. The story of her is therefore challenging to get filmed, since her life was both complex and contains both a brilliant sports career and in the field of film / entertainment. The director of this film has chosen the focus one-sided on the movie star Henie. This has been criticized, but I think it`s a good choice. The director had to make a choice. The film takes us along with Henie to Hollywood, where she is quickly offered to make big money on ice shows and eventually movies. The figure skating career has made her known. It`s a huge success, which the film manages to bring out very well. The film depicts Henie as both a great diva, who treated all those around her as objects she could use for what she wanted from them. In this film she is presented both as cold and calculating, and without the ability to empathize with both family members and employees. What I was wondering during the movie was what was her underlying motivation to do as she did, and make the choices she made? But anyway, she became the best-paid female actor in Hollywood, and toured with her shows for sold out venues in the United States. The film takes time to bring us into this genre and era, and it is done on a very good and convincing way. Ine Marie Wilmann is brilliant as Henie in this movie. Wilman manages to present sides to Henie as a tough, hard-core business woman. I was thinking after this movie, that Henie might have been ahead of time, when it, as a woman, came to negotiating good contracts and deals. Anyway, this is a great movie, and anyone who is excited about biographical films will benefit from it, and at the same time learn a lot about one of Norway`s most famous women ever.

CAST: Ine Marie Wilmann, Valene Kane, Eldar Skar, Pål Sverre Hagen, Anders Mordal

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SYNOPSIS: The true story of Sonja Henie, one of the world`s greatest athletes and the inventor of modern figure skating, who decides to go to Hollywood in 1936 to become a movie star.

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PRODUCTION: Maipo Film

GENRE: Drama

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SYNOPSIS: Singles is an offbeat comedy that tells how hard it is to find a husband after thirty.

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CAST: Cassandra Ciangherotti, Gabriela de la Garza, Mariana Cabrera, Flor Eduarda Gurrola, Irán Castillo, Sophie Alexander-Katz, Diana Bovio

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PRODUCTION: Moonlight Pictures

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SYNOPSIS: "HELP" is a supernatural horror thriller which draws upon the story of a malevolent spirit that refuses to leave the human world and is out to exact retribution for past crimes committed against it.

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KEYWORD: #wife_husband_relationship #twin_sister #possession #murder #evil_spirit #psychiatrist

CAST: Bobby Deol, Mugdha Godse, Sophia Handa

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PRODUCTION: Douglas Wolfsperger Filmproduktion

SYNOPSIS: A city, a cinema, and a reluctant farewell. In 2017, in the city of Constance on Lake Constance, Europe’s largest chain of drugstores opened the city’s fifth branch store: more diapers, more toothpaste and more toiletries for the local residents and the consumer tourists from Switzerland. Until the year 2016, the premises were reserved for film culture, this was the location of the former “Scala Film Palace”. When Douglas Wolfsperger returns to the magical site of his cinematic socialization, the public opposition to this pending closure is in full swing. The filmmaker becomes witness to the final rebellion of a dying art house cinema, speaks to passionate film enthusiasts and matter-of-fact city administrators about loss and expansion, the increase in pleasure and trade, intransparent vested interests and advantageous business situations. Inner cities and cultural concepts change – in Constance and everywhere else. But who decides how and for whom?

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GENRE: Documentary

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GENRE: Documentary

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PRODUCTION:

SYNOPSIS: No Man Is an Island travels across Europe, from the farmers working together in the Galline Felici cooperative in Sicily to the architects, craftspersons and elected representatives who collaborate in the Swiss Alps and in Austria. All are engaged in politics through their work and all believe in a common destiny. Is the local level the last possible place for a viable utopia?

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CAST: Aenne Schwarz, Andreas Döhler, Hans Löw, Tilo Nest, Lisa Hagmeister, Lina Wendel, Falk Rockstroh, Annika Blendl, Dagny Dewath, Katrin Röver

KEYWORD: #rape

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"Alles ist gut" or "All Is Good" or "All Good" is a new German 2018 movie written and directed by Eva Trobisch and this is actually her first full feature release in both departments and I would say for that it is a pretty convincing and respectable achievement. It also helps with the subject perhaps that this was brought to life by a female filmmaker, although I would not call it a necessity. And this film also proves that you don`t need any super famous actors to make a good script work because honestly, even I as a German film buff must say that I don`t remember any of the performers here. That should not take away anything from their quality, however. Lead actress Aenne Schwarz is just as convincing with a really difficult role as pretty much all supporting players from start to finish. In these 1.5 hours we have the story of a young woman who gets raped by a man after a night of drinking and how she deals with everything afterward, i.e. her life and we ind out about the consequences of said night. It is not an in-your-face film. The rapist is not a wild beast, but a married man who regrets what he did. The victim is not one that screams out loudly and cries all the time. The words "For real now?" she uttered while being raped describe her very well. She is a tough self-confident woman who is not used to relying on help from anybody else. This is also why she cannot go to the clinic, why she cannot go to the police and why she wants a taxi driver to be the person of confidence to take her home after the abortion. Well, maybe the fact that she actually did get pregnant, was one of the rare moments I did not like that much in here, even if I liked how she says it`s not even clear it is the rapist`s child. Another interesting component of the film was how what happened had such a massive impact on the protagonist`s boyfriend without him even knowing what happened. But he seems to feel that something really did go wrong and maybe that has to do with the scene when he completely escalated in the face of the other guy owning the apartment when the police officer enters the picture. And despite the main character`s refusal to go to the police, the latter is a recurring force in here. The best example is really the very last scene before the credits roll in with the woman`s refusal to leave the train despite not having a ticket. She relies on the ticket controlling people to call the police to remove her from the train. And maybe she intends to finally talk about what happened then or to hope that one of the officers will see through her in how she behaves. We will never know. It is an open ending and it is very obvious too that it will never be told by her to anyone as well. But I guess it would have been too much of a bad message sent out to audiences if Trobisch had really let him get away with it, even if at times it seems this is what the main character wants to happen, namely to ignore and forget what happened instead of seeking not only justice but also really dealing herself with what happened. Then there are of course the scenes later on between victim and offender who are really uncomfortable to watch I cannot deny. It`s a heavy movie, heavy subject and painfully good performances and writing. Dead cats are still among the more harmless things you will get to see here. So if you are easily offended by violence or psychologically focused story lines about broken characters, then you should skip this one. Otherwise, really watch it if you get a hand on it. Not sure how much and how frequently it will be shown outside Germany. Thumbs-up and a positive recommendation from me.

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“The Green Book” derives its name from The Negro Motorist Green Book, an annual publication from 1936-1966 designed to help people traveling while black to find friendly lodging, restaurants and gas stations and to keep from running afoul of a variety of arcane local laws (if you’re interested, learn about “sunset towns”). In 1962, Dr. Don Shirley, a classically trained pianist, left his opulent apartment above Carnegie Hall in NYC to tour the Midwest and Deep South. The record company sponsoring his tour had the good sense to hire a driver/bodyguard/valet to help him navigate the perils of the South in the period just before the Civil Rights Act. Tony (Lip) Vallelonga was hired for those roles and worked with Shirley during his two-month tour. The challenges faced and overcome by Shirley are entirely predictable – overt racism, harassing cops, etc. But “The Green Book” is not intended to be a history lesson. It’s a story about enduring friendship. As the two lead characters, Mahershala Ali (House of Cards, Oscar for Moonlight in 2016, a can’t-wait upcoming role in True Detective, Season 3) and Viggo Mortensen (Lord of the Rings series, A History of Violence, Eastern Promises) perform a series of memorable duets. Unable to rely on his Danish-American heritage for this role, Mortensen (Tony) adopts a Bronx accent that would fit right in on The Sopranos. This makes perfect sense, given that the real Tony Lip had a recurring role in the series. (Regrettably, for all his talking, our Tony never lets loose with “Ba-Da-Boom, Ba-Da-Bing.”) His rough-and-tumble, street-smart approach to the world stands in stark contrast to the well-educated Dr. Shirley (Ali), who struggles mightily because he is neither black enough not white enough to fit in anywhere. Dr. Shirley’s struggles to teach Tony diction, manners and Oxford English (Oxford, England, not Oxford, Mississippi) are highlights of the film. What drives the narrative, though, is the bond built between the two men. Tony is in awe of Dr. Shirley’s regal bearing and erudition (Shirley earned a doctorate in Music, Psychology and Liturgical Arts). Shirley, in turn, sees Tony’s good heart and envies the passion and wonder through which he views the world. Spying a road sign announcing a KFC up the road, Tony enthuses, “Kentucky Fried Chicken in Kentucky – when’s that gunna happen?” The chemistry between the two is funny, touching and the glue that holds this film together. Director Peter Farrelly (There’s Something about Mary, Dumb and Dumber, Stuck on You) has reined in his slapstick impulses and over-reliance on visual humor. The result is thoughtful, honest and memorable. “The Green Book” does not offer its audience profound insights into the human condition. But it does suggest, as Shirley’s character discovers, that occasional human interaction, in small controlled doses, might actually be worthwhile.

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SYNOPSIS: The films narrates the story of a sound designer who strives hard to realize his dream of recording all the sounds of the Thrissur Pooram.

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SYNOPSIS: An archaeological team from an Ivy League school discover something unexpected in their remote forest excavations of an ancient Native American site.

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SYNOPSIS: A man falls in love with a girl who has short-term memory loss.

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