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Dune: Part Two (2024)
LOST IN THE WORLD OF DUNE , A CINEMATIC EXPERIENCE LIKE NO OTHER
Denis Villeneuve, the brilliant director, once again astonishes us with a masterpiece that has certainly surpassed our expectations following the first part. The first installment served as a prelude to the story, presented with professionalism and dedication, resulting in a wonderful introduction. The challenge for Villeneuve was to ensure the second part would match the caliber of the first, a challenge often unmet in trilogies or multi-part films where quality tends to decline. However, Villeneuve defied this trend by presenting a second part that is a masterpiece of an even higher artistic level than the first. This achievement reflects positively on the director, the film, and the audience, setting a high standard for our expectations as we eagerly anticipate the third part.
In this part, we witness the Atreides family's seething anger and thirst for revenge after being betrayed by the Emperor and sent to Arrakis to oversee spice production. Paul and his mother navigate their newfound position on the desert planet, immersing themselves in the culture of the Fremen in their quest for acceptance. Through Paul's determination to integrate and learn from the Fremen, we gain insight into their customs, survival tactics, and formidable weaponry, showcasing their resilience in the harsh environment of Arrakis. As Paul proves himself in combat and earns the trust of the Fremen, his transformation into one of them becomes a reality, positioning him to confront the Harkonnens alongside his newfound allies.
In this part, Rebecca Ferguson delivered an astounding performance as Dame Jessica, evolving into a revered mother in the Fremen community, particularly in her poignant conversation with her unborn daughter after drinking real worm poison. Javier Bardem, who was excellent in the first part, further impressed with his portrayal of Stilgar, revealing a different, more fanatical side of the character. The entire cast, including Timothée Chalamet and Zendaya, delivered remarkable performances. Looking ahead to the third part, I anticipate smart investments in the appearances of Florence Pugh as the Emperor's daughter and Anya Taylor-Joy as Paul's sister.
American Fiction (2023)
THERE ARE REAL THINGS SAID IN IT
Thelonious, a renowned teacher and writer celebrated for his intricate novels, finds himself disillusioned when his works fall out of favor with readers. Taking a break, he returns to visit his long-neglected family. During this hiatus, he embarks on a new writing project. Departing from his usual style, he crafts a novel centered on black characters involved in gangs, filled with violence and weaponry to cater to the current market demand. To his astonishment, the book receives overwhelming acceptance from publishers and readers alike, despite its numerous shortcomings that would typically render it unsuitable for such acclaim.
In a world where triviality and sensationalism often overshadow depth and authenticity, individuals sometimes find themselves pressured to compromise their principles and beliefs for the allure of financial gain. Thelonious stands as a beacon of integrity amidst this tide of conformity. Despite the lucrative demand for novels portraying black characters in stereotypical roles of violence and hardship, he remains resolute in upholding his dignity and artistic vision. The irony lies in the character who succumbs to these temptations being hailed as the epitome of success, earning the title of "Golden Sinatra" in Thelonious' eyes.
Alternatively, another aspect of the film delves into themes of family warmth, highlighting Thelonious' relationship with his mother, who grapples with the early stages of Alzheimer's disease, and his brother, whose life choices diverge from Thelonious' preferences. The film's conclusion, while somewhat perplexing, adds to its overall complexity and leaves room for interpretation. Nonetheless, despite any confusion, the film still maintains its merit as a compelling piece of cinema.
Poor Things (2023)
High Hopes, Low Ratings
In dissecting a recent cinematic experience, I found myself grappling with a profound sense of disconnection. It wasn't solely the idiosyncratic directorial approach reminiscent of Yórgos Lánthimos, which often presents reality through a prism of distortion. Instead, the film in its entirety, along with its thematic content, left me profoundly disillusioned. This sentiment was amplified by my elevated expectations, particularly in the wake of Emma Stone's Oscar triumph. Regrettably, this time around, I found myself unable to unravel the intricate layers of the film's narrative and discern its underlying significance.
From the outset, it's essential to acknowledge the distinctive style associated with Yórgos Lánthimos. His films are renowned for their unconventional storytelling methods, characterized by surrealism, ambiguity, and an almost clinical detachment from conventional cinematic norms. This approach, while intriguing to some, can prove to be an acquired taste for others. It demands an active engagement from the viewer, challenging them to decipher obscured meanings and navigate through a labyrinth of symbolism.
As I grappled with the movie's enigmatic plot, I couldn't shake the feeling of disappointment that lingered long after the credits rolled. It wasn't merely a matter of failing to comprehend the director's intentions or deciphering the story's intricacies. Instead, it felt like a missed opportunity-an opportunity for the film to transcend its stylistic idiosyncrasies and resonate on a deeper, more profound level.
La passion de Dodin Bouffant (2023)
WE ARE IN THE AUTUMN OF OUR LIVES
When cooking becomes the shared passion between you and her, and the kitchen serves as the canvas for crafting memories through the tactile experience of peeling onions, slicing veal, and inhaling the aroma of parsley, the film invites you into the realm of Eugenie, a masterful cook, and her culinary counterpart Dodin Bouffant. Through the lens of director Jonathan Ricquebourg, the film delves into the essence of the cook, capturing the intricate dance of their senses with each recipe, and revealing their profound connection to the nuanced flavors of every ingredient.
I may concede that at certain junctures within the film, I may have overlooked the absence of dialogue and the singular focus on portraying Eugenie's culinary prowess. This could be considered a weakness of the film as it lacked clear direction, leaving viewers uncertain about its essence and narrative trajectory. The ambiguity surrounding the setting- the specific time and place of the story-further contributes to this confusion. If utilized effectively, this ambiguity could have enhanced the storytelling experience by allowing viewers to immerse themselves more deeply into the narrative.
I found the ending of the film to be satisfactory, and I felt that Dodin Bouffant's emotional state was justified given the loss he had experienced. His decision to carry on Eugénie's legacy by teaching Pauline, especially considering Pauline's potential, resonated with me. Additionally, the final dialogue in the film left a lasting impression and added to its overall excellence.
Kuru Otlar Üstüne (2023)
If you survive this geographical spot that suffers from endless setbacks, you will nevertheless be transformed
At the outset, a figure emerges amidst a wintry landscape, where the biting cold pierces through the eyes, shrouded in the mystery of what lies ahead in this cinematic journey. Set in a remote Turkish village nestled far within Anatolia, the narrative unfolds amidst harsh weather and the humble circumstances of its inhabitants.
Samet, an art instructor, and Kenan, a sociology educator, cohabit in the same flat and teach at the same school. As the plot unfurls and the characters are intricately portrayed through candid dialogues that embody the director's style, we delve deeper into understanding and connecting with the characters and the cinematic world they inhabit.
As events unfold, the two teachers find themselves implicated in allegations of inappropriate conduct towards female students, unraveling the complexities of the human psyche and laying bare its flaws. Amidst mounting complications, Samet orchestrates a scheme to introduce Kenan to Nuray, ostensibly to deter marriage, a prospect not even on his radar, hinting at a possible shift in his intentions. His character is masterfully portrayed, revealing his cunning and ability to regain control of situations even after moments of apparent loss.
The conversation between Nuray and Samet following her invitation to both him and Kenan for a meal, which he opted to attend alone, was truly remarkable. Their exchange delved into philosophical and political themes, exploring their respective convictions on the state of the world, solidarity, and individual initiative. Unhurried and seamless, the dialogue evoked the atmosphere of a Russian novel, with its chilly backdrop and profound philosophical discussions that plumb the depths of the human soul, a testament to the directorial prowess of Nuri Bilge Ceylan.
The film's lengthy duration, surpassing three hours, may deter viewers who prefer less dialogue-heavy films. However, it will undoubtedly captivate those willing to invest their time and full attention into the rich drama and dialogues, which intricately develop each character, fostering a profound impression and attachment. The payoff is assured by the film's conclusion.
Perfect Days (2023)
IT'S OK TO BE HAPPY WITH A CALM LIFE
The narrative centers on Hirayama, a janitor tasked with cleaning toilets in Tokyo, Japan. Although I haven't come across any articles about him, I approached the movie with a fresh perspective, aiming to be objective in my judgment without any prior knowledge.
We will notice from the first half hour of the film that Hiramaya is a man with habits that make his day perfect "for him," such as waking up to wash his mouth, then heading to water his plants, wearing his work clothes, then starting his day with coffee and music that he plays after choosing the title carefully.
Hirayama finds joy in simple pleasures like photography, books, music, and moments of tranquility, such as eating under a tree's shadow or watching the rainy sky. While he strives to appreciate each day and takes pride in his work as a janitor, there's an underlying loneliness that persists despite his efforts to distract himself with his habits. Despite his dedication to finding beauty in his routines, his inner solitude remains a challenging aspect of his life.
As the story unfolds, we encounter a young man who works alongside Hirayama. Perhaps we can draw parallels between the young man's life and Hirayama's, highlighting the contrast between the young man's thirst for life, impulsiveness, and talkativeness, and Hirayama's more reserved nature. Despite observing the young man's experiences, Hirayama still empathizes with his desires. Additionally, Hirayama's niece, who visits him, briefly alleviates his loneliness. Despite these interactions, Hirayama remains committed to his habits, which help him navigate the challenges of each day.
The conclusion of the story confirms that Hirayama either came to terms with or concealed the part of him that grappled with loneliness, revealing that the serene routine he cherished came at a significant cost. While indulging in beloved activities like reading, listening to music, or taking photographs added beauty to his days, they also had a profound and lasting impact on his life.
Argentina, 1985 (2022)
PARA QUE NADIE OLVIDE
My experience with the movie "Argentina, 1985," directed by Santiago Mitre, was unique. Despite lacking prior information and not watching the trailer, I was drawn in by my interest in history. The film centers around the aftermath of Argentina's military dictatorship, with Julio Cesar Strassera prosecuting 9 military leaders. Strassera appoints Luis Moreno Ocampo as his assistant to seek justice and revenge. The cast, including Ricardo Darín and Peter Lanzani, portrayed the pressure and responsibility well. The trial's atmosphere was captivating, immersing viewers in the emotional journey.
Director Santiago Mitre skillfully turned real events into a dramatic narrative, avoiding a documentary-like feel. The pacing was well-managed, preventing boredom with concise scenes focused on the prosecution and court. The film powerfully depicts the suffering of the Argentine people under the brutal regime, with over 30,000 victims enduring torture, murder, and other horrors. The testimony of a tortured witness, pregnant and blindfolded during childbirth, was especially haunting. This film provides a window into history and the truth, reminding us of the importance of movies as time-traveling tools.