Cristina and Simon are two young graffii artists who paint the city that they live in: Medellín. They defy a criminal gang when they decide to paint over a threat, written in a wall, a ... See full summary »
Catalina Arroyave Restrepo
David Escallón Orrego,
Laura Tobón Ochoa
Merab has been training from a young age at the National Georgian Ensemble with his dance partner Mary. His world turns upside down when the carefree Irakli arrives and becomes both his strongest rival and desire.
In a remote Icelandic town, an off duty police chief begins to suspect a local man for having had an affair with his wife, who recently died in a car accident. Gradually his obsession for ... See full summary »
Patrick (38) lives with his parents on a naturist campsite. When his father dies he finds himself in charge, but has lost his favorite hammer. His search becomes an existential quest, when a hammer is used in a break-in crime.
Teenage commandos perform military training exercises by day and indulge in youthful hedonism by night, an unconventional family bound together under a shadowy force know only as The Organization. After an ambush drives the squadron into the jungle, both the mission and the intricate bonds between the group begin to disintegrate.
First, since I'll forget - the score/soundtrack is Oscar worthy. Should be considered against anything. Whoever is responsible is going to do things in cinema - mark my words.
The movie itself is tight, concise, well-integrated and paced just right. There are some uncomfortable moments of various types - we're watching a movie with pretty darn young kids being left to their own devices for the most part, so the subject matter itself is uncomfortable.
Cinematography, dialogue, scene scouting, and direction are all very, very good and this film hearkens to an earlier time in American cinema in which the soundtrack didn't have to be comprised of nostalgic Americana, 70s rock or hip hop. The score was excellent as well - they used very unique and effective sound effects to add to the drama and discomfort in several key scenes.
Enough of the technical stuff - this is a loose re-telling of the narrative at the heart of "Lord of the Flies" - and not just because it's about a bunch of kids. This one also succeeds in depicting and chronicling the natural process of breakdown of rigor, authority, procedure, and most importantly human decency when we find ourselves well outside of our altogether too plush comfort zones - and by that I also mean the psychological comfort we all enjoy when things function smoothly and "the trains run on time."
There are questions about the plot as usual. How did they know ___ (insert character name) was _____(insert location that would seem to be safe)? Stuff like that, but in the way it was paced and depicted, those questions didn't matter much. That's rare. I guess what I'm trying to say is that I hate when I have to abandon my sense of disbelief to watch a film but ALSO the filmmaker then violates even those new standards of reality upon which the initial abandonment of skepticism were based. None of that here.
Not for everybody, but I would challenge any critic who pans this one to point to just one flaw in the overall story arc and the way the film was produced. I would call this an achievement in cinema and I'm rather hard to please.
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