NinadeL

Colette isn't a bad film, but I prefer Cieslar's earlier encounters with WWII. Theoretically, I should be burning for anything with Lustig's signature, but unfortunately, his themes tend not to work with the film's overall context. Of the recent competitors, I appreciated In Silence more.

Despite the fact that I'm not very familiar with French films and their mentality in general, and that I'm far from being in tune with everything that appeals to the classic attributes of the land of the Gallic rooster, I consider 3 Hearts to be very good. It’s an absolute melodrama with very believable emotions, and it's the kind of thing that you don’t see very often. Yet such are also the winding paths of the heartland.

A functional thriller with a very good lead pair. Nicola's character is so nicely sculpted by the interesting script, her emotions, and her stylization in shades of blue that it is almost unbelievable that she represents a white African woman. Madame Australia has a truly broad range.

The new pairing of Nicole Kidman and Colin Firth was already proven to work in The Railway Man. And this is their second project together. It’s a nice intimate thriller with an interesting denouement. Sometimes less is more. I look forward to seeing them next alongside Law in Genius.

It’s a level better Polski film, this time in a version with French, Munich, and the very beautiful Prague. While I personally don't find it necessary for films like this to be made, I would leave it to the next generation to evaluate them, because I understand that if you fall in love with Day for Night, then you have to act.

The second film is as dumb as the first one, but we do get Amell (Arrow fans will applaud), the Technodrome with Krang (I'll applaud) and that's it, because Bebop and Rocksteady are really badasses who belong only in cartoons.

"Life is not what we want, but what we have." Lavish in content, yet totally unacceptable in form. It is impossible to detach oneself from such concrete experiences, anchored in time and space, and speak only about feelings. A poorly grasped concept, yet worthy of internal analysis. Had there been fewer partial failures referring to the reality of 1967 and fashion fads, it could have been great.

In the context of Schorm's abortion documentary Why?, which was made only a year earlier, the topic of birth rates under socialism does not lose its relevance in this film either. Indeed, the policy applied to the family at that time gave strength to relationships whose effects we are still dealing with today. This setting up of marriages and families based only on whether or not an apartment is allocated is truly futile. People would be in the mood, sure. But then what? Moskalyk dared to make an ironic film in the sixties without unnecessarily false artistic ambitions, and that is a pleasure. The length of Kissing-Time Ninety is unintentionally humorous throughout, pointing to the ephemeral life of a sensation that, under the working title of quintuplets, is as topical today as it was then. Moreover, the film features very pleasant civilian performances by Syslová and Vlach.

"Sexus is anonymous, eros is addressable!" - "What do you think about me getting married? I'd meet my wife, we'd talk about Morgenstern, maybe she'd support me. Or I could find something to do for a few hours. At least I wouldn't be so alone... Like the young one who's standing by the metal machine. She might need me. With the prosthetic, I'd love that. I'd love her all my life. And I would be happy, so happy that I might even stop writing."

If I had gone to see films like Vyžilý Boudník in the early 90s, it is clear to me that it would not have been voluntary. Fortunately, today it is only a witness of a time past and an example of how dramaturgy changed immediately after 1989.