Kaka

A masterfully handled character study of a demonic conductor in the best performance of the year. Cate Blanchett plays a woman who is complicated, intelligent, manipulative and a lesbian on top of that. Overall, there is a sense of a focus on gender issues, but at the same time the film is also friendly to the ordinary viewer, who doesn't notice some of the details or doesn't attach importance to them, and enjoys above all Blanchett's fabulous performance – she doesn't hesitate even in extremely long dialogue passages, when the camera statically, almost voyeuristically takes her in and examines her every gesture. The length is the only significant weakness of the film, with a two-hour running time and the editing of some unnecessarily long passages (ironically, especially the musical ones), it would probably be a major Oscar favourite. Because apart from a great script, minimalist form and thought-provoking dramaturgy, this is a film from a milieu that is almost unknown to mainstream audiences and very interesting.

Explosive in places, but mostly unnecessarily theatrical, hectic and extremely long. Chazelle is recognizable thanks to the musical interludes, which are imaginary mini-peaks of the film. An ode to old Hollywood that has its positive moments, especially on the technical side. Starting with fantastic cinematography, impressive production design and good music. But watching this coked-up wilderness for 190 minutes requires a great deal of patience. Most of the dialogue passages oscillate somewhere between a selection of Tarantino and Scorsese, but never getting it right. A bold, unusual but hard to digest film.

The most intense dinner table conversation in a long time. Excellent work by the creators and the actors, again.

And there's finally a trigger in the form of Diana's interview with the BBC. Again, I would only be repeating myself if I dissected how closely the filmmakers stick to the facts and various historical details. A superbly done procedural.

What happens when you mix some of Marvel's stinking failed comic book movies with a bit of The Matrix, Crouching Tiger Hidden Dragon, an attempt at a revolutionary depiction of a story about family values (not) fulfilling their potential and totally WTF (read modern) pop culture moments? An absolutely frenetic travesty, where nobody knows what will happen in five minutes, but at the same time nobody really cares.

Another episode focused on Diana, but the song remains the same: flocks of journalists, wiretaps, paparazzi and one rather strange, almost laughable romance. I have the feeling that the fifth season is losing its breath, pace and, most importantly, “construction material”.

An entertaining Russian interlude, with a brilliantly impersonated Boris Yeltsin with unique one-lines, and brimming with wit and good humour. Plus the most daring/awesome scene of the entire series so far, right at the beginning of this episode.

A wild phone call and a transformation, or rather the discovery that a weak Charles can easily become a strong Charles, politically sophisticated, charismatic and revolutionary in his ideas.

The Croats know how to make films! Murina is a sensitive, raw drama about a dysfunctional family triangle that is disrupted by the planned visit of an old acquaintance, a casually difficult millionaire, who stirs up old unspoken wrongs in an otherwise mediocre fishing family during a sunny weekend as expertly as he stirs up new uncharted emotions. The brilliant performances of all involved, the plastic, well-written characters and the minimalist setting of the Croatian rocks will do the trick. Adequate running time and an above par viewing experience in a pleasant European low-budget film.

An episode that focuses solely on the issue of royal family relationships, this time completely away from Diana. On a reminiscent and pleasantly nostalgic note, the final reconciliation of the two sisters seems to bring a sense of closure. Of course, after the previous episode, they stepped on the brakes, but it had to be done.