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If I like a movie I want you to like it too!

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SWEETHEART (2021)

Dir. Marley Morrison

Coming of age. The period of rebellion. Hostility to the world around us. The rush of emotions and their complete lack. Cinema knows many stories about growing up in which we see the main character struggling with changes taking place in his body and mind. It's no different in Marley Morrison's feature debut "Sweetheart", which tells the story of 17-year-old April spending her family vacation in the seaside town of Dorset, England. The park, full of caravans, will be the backdrop for events in which AJ, as that’s how she wants to be called, will rediscover herself and her family during a holiday romance. It is worth adding that the object of her feelings and sighs will be beautiful, equally young and flirtatious girl Isla, who while working in Dorset as a lifeguard, will throw a love lifebuoy towards April. Will AJ be able to catch it and swim to the surface safely and unscathed?

The film opens with a scene in which we see AJ and her mother Tina and a younger and sweet sister on their way to their summer adventure. The first seconds already suggest that the main character would rather spend this time differently, preferably alone. The cool look of orange glasses, the lack of any excitement and the youthful rebellion on April's face instantly makes this young and arrogant girl close to us as if we had known her for years. Hearing the opening words of the (excellent) soundtrack 'My mum says that I look like a nervous wreck / Because I bite my nails right down to the flesh' the viewer may already suspect that it will be another necessary film about the mother-daughter relationship and youthful challenges, which, as history will show, will make those few intense days (and nights) in Dorset unique and needed by all protagonists. Tina (a very good role by Jo Hartley known from Netflix's ‘After Life’) as a loving and willing mother will do everything in her powers to cheer up her daughter. She probably does not like the fact that AJ struggles with the cruel world in which cows are killed (AJ is a vegetarian) and everything else is wrong. Tina desires for AJ to spend this time in joy and with a smile on her face. Throwing casually What, mom?, AJ (played by the excellent and charismatic Nell Barlow) manifests a certain dose of bitterness and tiredness for the world around her with her indifferent but charming body language. Perhaps she is too COOL to spend another vacation with her mother and two sisters. The older one, Lucy, and her cute boyfriend will only make April feel worse.

By creating the narrative system of the story, AJ makes us know what she feels, what she felt and what upsets her. Who she is, who she was and who she is becoming. This procedure, no matter how negative the main character is towards everything and everyone, will bring us closer to her and will allow us to be filled with an extremely strong sympathy. We will be cheering for her from the very first moments. We want to make friends with her because I think each of us was once like April. An embarrassed, pissed off and misunderstood young person, whom no one could comprehend. We should not miss the fact that she has to struggle, to some extent, with the synthesis of emotions and feelings towards the same sex, which she does not seem particularly embarrassed about.

The family accepts AJ's sexual orientation and even cheers her on when Isla (played by Ella-Rae Smith, known from Netflix's series ‘The Stranger’) suddenly appears in her vacation frame. The holiday atmosphere, the carelessness of the moments and the chance that the girl has the same sympathy at least to a small extent will suddenly make AJ smile and will light up a spark of hope in her heart. And although it may sound sloppy and has some shades of kitsch, this is what first love or first infatuation is. Full of optimism and butterflies in the stomach. That first text message, first one-on-one, this first gaze. Everything seems to be the first in April's life, although she, through skillfully told anecdotes, gives the impression of being mature and experienced for her young age. She is a smart and cool girl. We want her to succeed. We believe in every gesture she makes, her every sigh. We like her arguing with Mom and sister. And it's great to watch thanks to the roles created by talented and young actresses. But not only they shine on the screen.

A gallery of interesting and friendly characters enriching the background of the film make it one of those productions in which you would love to participate. You like these characters and you will be very fond of them. Steve, as the boyfriend of his older sister April (played by Samuel Anderson), is an extremely warm character. His relationship with his family and the freedom of relations between him and the women around him, make him one of the nicest heroes enriching this sweet story. The naturalness of acting and the ease of relations, even those quite difficult and tense between Tina and April, are such an extremely strong advantage of the film. But something else, quite special, is also worth mentioning. There is no negative attitude towards the main character's sexual orientation in this film. Her preferences are an important part of the film and its core, however, there are no people who are hostile to her sexuality in this story. Even the younger generation people April meets in Dorset are so familiar with the subject of different variants of love and affection that there is a great urge to take their views and admirable attitude off the screen. To today's world full of hatred and incomprehension. Perhaps Tina, in some of her comments, gives the impression that it would be easier for April to choose a different path than the one that is full of disagreement with the world around her, but this is due to her motherly care and love, which Tina has a lot of. And the viewer can feel it.

It is not always easy to understand another person, and it is even more difficult when they are close to us. The film shows that it is worth and necessary to talk, even when these are difficult talks to make. Because when the thread of understanding is established, and the sun comes out after the storm, its rays will make it possible to overcome any problem. Especially in a strong and caring family. Movie’s heroes enriched with the strength of their maturity, irrelevant to their age, became better people. And such stories are always worth watching.

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TINA (2021)

Dir. Daniel Lindsay and T.J. Martin

They say that there is only one queen. And if anyone has any doubts after watching the HBO production documentary that this queen is not Tina Turner, they should think again.

The film directed by the 2011 Oscar winners for the documentary "Undefeated" is a perfect reminder of someone who remains a living legend of rock & roll music to this day. Anna Mae Bullock, as this legendary star was born under this name, tells in front of the camera about her life, rich in various, often painful, experiences - as a wife, mother, artist, daughter and victim of domestic violence. It is also a wonderfully depicted history of the American music industry starting in the 1940s, when Ike Turner, Tina's former and late husband, began his music business. Their toxic relationship, which resulted in musical gems created from the combination of Ike's guitar sounds and Tina's unique voice and talent, still raises a lot of controversies. Journalists love and have always loved to ask questions about this painful period in the artist's life, which is perfectly presented in this beautiful screen tribute.

It is a well known and confirmed fact, that documentaries about music stars, caught up in various life vicissitudes, evoke quite a lot of emotions. Suffice it to recall the excellent work titled "Amy" by Asif Kapadi about the tragically deceased Amy Winehouse or the recently made documentary about pop princess Britney Spears ("Framing Britney Spears") directed by Samantha Stark. What attracts and fascinates people in music stars so much? Where does this curiosity come from? It is easy to answer this question by looking at a carefully prepared story about the author of many well-known and beloved hits such as 'The Best', 'Proud Mary' and finally 'What's Love Got to Do With It' (the same-titled biographical film was released in 1993, directed by Brian Gibson).

"Tina" is above all a beautiful and intimate tribute to a woman who from an early age struggled with a lack of love and domestic violence, which seemed to remain on her until she (literally) breaks out of her ex-husband's arms. Seeing a star (because that's the title she deserves without a doubt) sitting in a beautiful room somewhere in Switzerland and smiling in front of the camera giving an interview about her life, it's hard to believe what she had to go through to find herself in the place where she is today. The class, the chic and the gleam in Tina Turner's eye do not reflect in any part of the dark past that Lindsay and Martin talk about to somehow close this very painful period. And it will be visible in one of the scenes when, when asked about the death of Ike Turner, the protagonist of the document, pausing for a moment and wanting to cry, asks for a break. It is not necessary for a long time to guess that the demons of the past are unable to let themselves be forgotten.

The character of Tina is tragic, but there is strength and will to fight in this tragedy. Working as a child on a cotton farm and always hungry for motherly love, she never really knew it. As an adult and mature woman, she still hoped that her motherly love and feeling of overwhelming pride would come naturally over time as a world star reunited with the woman who left her as a child. The sadness and willingness to show your mother that you had become someone and the approval never came. The artist herself speaks about it, which it would seem, is still unable to understand it today. The number of original photos and clips from the youth of the future rock queen add a great dose of authenticity while being a truly classic procedure in the form of a document. They enable the viewer to see in Tina someone who was once just a young girl, gifted with great talent and determination. Someone who turned the lack of parental love into the passion and discovered a talent that brought great fame over time, but also pain and tears. Meeting her future husband and torturer, Tina was only 17 years old. Her onstage freedom, voice and obstinacy impressed the music guru who then performed with the Kings of Rhythm in St. Louis, Missouri. Back then, in love only with the guitar sounds of Ike, Tina joined the band and the rest of the adventure became a part of the canon of R&B and rock music forever.

The rest of the richly told story is a perfectly realized testimony to the birth of many of America's great musical genres. Watching recordings from clubs, concerts and recording studios, your legs are ready to dance. The viewer, realizing the nightmare taking place behind the scenes of the scenes where the couple known as 'The Ike & Tina Turner Revue' performed, will be in a state of shock. It is difficult to fully visualize the fact, seeing exuberant, full of energy and vigour Tina, that at the same time she was struggling with a monster that innocently plucked the guitar strings on stage, and outside her, showed his true, wicked face. Ike's complexes, often mentioned in the film, and the fear of leaving him, made Tina, giving him her word of honour, stuck loyally with him all these years. The moments when on stage Tina tried to give the audience a hint about her nightmare and show the strength of the female struggle had important hallmarks of feminism. The moment she describes how she manages to escape is one of the most dramatic and touching in the entire documentary. Finding strength in the religion of Buddhism and finally saying the eloquent and firm "enough!" Tina begins a new chapter, which will not only be written in her private but also musical pages of history. She will be reborn keeping her name, which has already made her famous and will be the only one thing she will get for herself after her divorce.

Women all over the world have the chance to gain enormous amounts of strength and inspiration by looking at the figure of Tina Turner. Her hits, as well as herself, are known and loved by  the entire world. And it's a sincere, loyal, and beautiful dose of feelings that took her a lifetime to find. Today, living in Zurich with her loving husband in a delightful home, Tina is a testimony and a living example that every form of oppression should be fought at all costs. That you can forgive but not forget. And that perhaps, as is the title of one of her songs, 'We Don't Need Another Hero', because Tina is enough for us.

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POPPY FIELD (2020)

Dir. Eugen Jebeleanu

How hard it is to stay true to yourself while required to be an alpha male? A 100% masculine man, who has been expected to be one while wearing a mask of someone who needs and has to behave like a proper chap, dude, bloke...

We are witnessing the story of a young gendarme named Cristi. We are meeting him perhaps in the most honest and transparent moment of his life, when he is being visited by his loving and caring partner, Hadi. It is easy to notice, that Cristi is not fully comfortable with his sexuality in the first minutes of the movie. Hadi’s touch in the public place makes Cristi quite awkward and uncomfortable. Reluctance towards displaying public affection might be related to the fact, that the main protagonist works in the male-dominated field, with a big stigma and judgement towards homosexuality. While his partner seems like an open and confident gay man, Cristi is fighting his demons. He doesn’t accept himself fully, even if those closest to him do so, like his own sister, Catalina, who is excited to meet a man, that makes his brother happy. Surrounded by the close circle of people, who do not see being gay as any form of shame or embarrassment, he is battling between staying true as Cristi, the gay man in love and Cristi - the soldier of law and justice fighting criminals alongside his personality.

The story gets a bit more dramatic when we see the man attending the demonstration in the local cinema following his duties as a gendarme. On his way to the movie theatre, where the homophobic group of ultra-nationalists disrupted the screening of the LGBT movie, Cristi and his colleagues are discussing his love life mentioning girls he used to date. They assume there is something wrong with a guy, who doesn’t have a woman or can’t keep one by his side. They have no idea, that their workmate keeps a huge secret, each time he puts his uniform jacket on. This is his straight man’s caftan. He transforms into one of the men, he has to work with to avoid being excluded, judged and rejected. The camera focusing on Cristi’s face is giving us the feeling, that this man is conflicted, lost, trapped and maybe buried with guilt. Demonstration at the cinema will increase these feelings, when Cristi’s true identity will be recognised by one of the film spectators, which will lead to difficult challenges for the whole team of military police and Crist himself, probably the most.

This is a great story of a lost individual looking for himself. Conrad Mericoffer’s role as Cristi is a great performance full of sorrow, sadness and soul combat mode. His inner conflict and fear of other people discovering his sexuality make him a fragile, yet strong character. Cristi must show his masculine side as his occupation requires him to do so. His weaknesses and fears turn into frustrations and anger. Witnessing the demonstration, where homosexuality is called a mafia and Queer people are called shameful sinners, he realises, that perhaps there will never be an acceptance for his gay side. How can he serve in such alpha male-dominated territory while being a part of the community, which is constantly persecuted, disrespected and oppressed, especially by his colleagues, who think that gay people are disgusting faggots. Cristi’s actions are a result of him being locked in a cage. He might have the key to open it, yet he decides not to use it. Where is this going to take him? Back to the arms of Hadi, who knows him best and who can comfort him surrounded by walls of his home, where life seems more simple and ... honest.

POPPY FIELD premiered at the Glasgow Film Festival 2021 and will be shown at the BFI Flare Film Festival 2021.

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FRAMING BRITNEY SPEARS (2021)

Dir. Samantha Stark

“ Everybody's talking all this stuff about me Why don't they just let me live? I don't need commission, make my own decisions That's my prerogative...”

There are no better lyrics to describe the power of the #FreeBritney movement, than those from the single released by Britney Spears in 2004. But how much control she has these days? Can she make her own decisions?

One of the biggest pop stars in the world finally has a documentary about herself. Shame is not a happy story piece like it usually happens when we talk about fame and stardom in the music world. Directed by Samantha Stark, that works as a director and producer for The New York Times Presents, “Framing Britney Spears” is trying to answer any questions about the mental state of the princess (maybe even a queen?) of pop. It probably would not be possible to touch on many important aspects of this story, if in 2009 #FreeBritney Movement wouldn’t be established. It started with the power and dedication of alarmed fans of the singer, that had many doubts in the conservatorship terms she had to live under. Britney’s father - Jamie Spears - became a legal guardian of many life’s aspects, wealth and the estate after the media famous mental breakdown of his daughter in 2009. What was going on with Miss Spears trough these 12 years? What happened and lead to the moment, where a young and famous woman decides to shave her head as a statement? How big of a role in all of this has been impacted by paparazzi? Huge! They seem to be the most important and damaging factor in this story, presented with many talking heads moments, where we can see Britney transforming from the Disney star to a prisoner... asking for help.

Like it often happens in this type of documents, there are a lot of videos and pictures of a young Britney. Still not touched by the heavyweights of intrusive camera lenses flashing into her face when she is trying to get into the car. Still so innocent and hungry for fame, she will soon realize, that her relationship with the nasty photographers will not bring anything good. It feels painful to see how a little, talented and pure girl has to battle her sanity in front of the whole world. The world was hungry to see her failing as a mother, as a singer, as a wife of a woman, of a pop star, that was happy to admit publically she had sex with her. Seeing Britney’s tears from the past interviews and understanding that under all the glam and scene lights she is yet another human being wanting to be happy and free was not the easiest viewer's experience. Aren’t we all to blame as hungry wolfs hunting the poor and weak sheep? Showbiz is a strange and dangerous environment, in which fans can either save your life or... turn it into the worst nightmare. Yes, those devoted to helping Britney started a small revolution, but we can and should not ever forget, that that could perhaps never happened, if we would not be so fascinated and ready to buy another magazine with the cover of a person, that is going through hell and we just put an extra flame to the fire she is burning in.

How beneficial to the core of the story would be to have a chance to hear the opinions of Britney’s parents? Maybe it would just interrupt the whole meaning and message of a movie, that is trying to touch on subjects of being a free and independent woman, that never had an opportunity to say ‘Oops!... I Did It Again’, without being judged, made fun of and criticized, by those, that should love her the most. The biggest moral of this story would be to see the stars and celebrities not only those who are hungry for fame, but also (and mostly) as normal people, that with the common sense of the press and fans can remain... as normal as possible.

FRAMING BRITNEY SPEARS is available to watch on NowTV as part of the subscription.

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PIECES OF A WOMAN (2020)

Dir. Kornél Mundruczó

A real tragedy of two people can either unite them or make them drift apart... It is hard to find the strength to fight and put yourself together after falling into pieces after everything you loved has been taken away from you...

Based on the same-titled 2018 play, the movie directed by the Hungarian filmmaker Kornél Mundruczó and written by his partner Kata Wéber, tells a story of a couple’s struggles after losing their newborn baby. Mundruczó and Wéber went through a similar disastrous process, so we know that the screen story is reliable, first-hand and honest. Starring outstanding actors like Vanessa Kirby (recently known from playing Princess Margaret in ‘The Crown’) and Shia LaBeouf with ‘Requiem for a Dream’ actress Ellen Burstyn and half a duo of acclaimed director Safdie brothers - Benny Safdie. If this is not enough to create a great movie, I do not know what is. Great screenplay and the amazing cast did the job. Pieces of a Woman attracts with its uncomfortable but allured scenes, especially in the first part of the movie, where we can witness an unbelievable amount of physical pain of the main protagonist, Martha. She decides for a home birth knowing she can count on her partner Sean, and perhaps mostly on her midwife, that in the last minute not being available sends a replacement. Full of tension and anxiety, the home birth scene (one painful shot sequence) brings a happy final, that does not last for long. Happiness and joy of welcoming a newborn baby end up with the unthinkable tragedy, that will have its consequences on everyone around Martha including herself the most.

How to portrait the loss of a baby? In such personal life drama, even with some connecting behaviours, each woman will have her way of dealing with such tragedy. Even if it is hard to judge Kirby’s way of acting like a woman dealing with such pain and misery, looking for the strength and hope, we are witnessing a class act from her. The battle against the world and compassion from those who love her (and pity her too?) seems like an extra weight on the shoulders of this fragile but in the same time strong and independent woman. The camera shows her face, feet and other body parts in the zoom mode and we can literally see her pieces. Sean, who works as a bridge construction engineer, is trying to finish building one of the city’s bridges, while the one between him and Martha is burning. He has his ways of dealing with the loss, that in the end is equally his, as a father moring his child. The couple is also trying to go through the lawsuit against the midwife, who failed a successful delivery of a baby. We hope for everything to go smoothly and with a happy ending, but there is only as much as one person can take. The fact is, there is a thin line between love and hate and even thinner between joy and misery... 

PIECES OF A WOMAN is available to watch on Netflix as part of the subscription.

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HAPPIEST SEASON (2020)

Dir. Clea DuVall

The most magical time of the year - Christmas! When do we need the magic of this favourite and most popular holiday more, than we need it in 2020? Each year a viewer can (and will) expect a film or two about what we love the most in this amazing festive season - happiness, joy and some family drama, that in the end will lead to the happiest of the endings.

Directed by Clea DuVall (known from starring in the series ‘The Handmaid’s Tale’ or the movie ‘Argo’) the movie tells a story of Abby (really well played by Kristen Stewart) and her girlfriend Harper (emotionally charged Mackenzie Davis, that some might and should remember from the spectacular episode of ‘Black Mirror: San Junipero’) and their different views on Christmas season, that as the title says, should be the happiest one. Abby is not the biggest enthusiast of anything around the topic of Santa, gifts and family gatherings. While Harper is getting really excited to spend another year with her family, her girlfriend cannot wait to sleep trough the Christmastime to be reunited with her love once this nightmare will be over. Unexpectedly, in the heat of the moment after a romantic walk, Harper invites Abby to her family home. Even if the next day she is trying back out of this idea, Abby is willing to go, being excited as never before. What can go wrong? Well, something has to. It’s a comedy/drama movie set in the X-Mas reality, where a lesbian couple is on their way to visit a traditional family, where a perfectionist mother and a mayor-to-be father will do everything, to mary off their perfect daughter? It’s a recipe for a disaster. And quite enjoyable to watch.

Pretending to be someone else always leads to funny situations. Not being able to be yourself, because society might not accept it is whole another story. DuVall successfully mixes comedic moments with the seriousness of the coming out process and messages of accepting yourself and allowing others to do it in their own time. The strongest aspects of this film are the two main protagonists, that do their work in the best possible way. We believe their love and connection. It feels like their relationship is strong and in the end, might lead to Harper coming out to her parents. But what if it will be too late? Who else shine in this film are both Daniel Levy (John - excentric and hilarious role of Abby’s best friend and my personal reason why I decided to watch this movie) and an American actress Mary Holland, that plays an odd and really funny sister of Harper - Jane. They both add the freshness and absurdity, that is really needed in the middle of this perfectly created world, that Harper has been raised in. The reality, that keeps chasing her until she can release herself from when she realizes that she might lose the only person that loves for who she really is.

Any representation of queer people in the cinema is truly important. In one of the scenes John will mention the moment of coming out, and to be completely honest, it is one of the best descriptions of this huge step in each queer person’s life I have ever witnessed on the big screen. Even if Daniel Levy is playing a copy, of the character he created in ‘Schitt's Creek‘, it does not ruin the film. It benefits it and makes us all realize why we fall in love with him in the first place. To expect more amount of emotions or engagement from Kristen Stewart would be too much to ask, but in the way, the viewer is so used to her playing the same, quite dimmer characters, that it doesn’t destroy this modern, Christmas tale. As a queer actress together with Levy they made a nice statement of a still needed segment of the cinema and created a nice, family and festive team in the movie, that is simply charming and worth watching. It will make you laugh and realize, that sometimes the fear of facing your true self is bigger than it should really be.

HAPPIEST SEASON is avaliable to rent on Amazon Prime for £4.49

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AMMONITE (2020)

Dir. Francis Lee

No matter the times and era - love is love. People should have their right to love whoever they want and however they want. This time the director of GOD’S OWN COUNTRY tells a story of Mary Anning, an English palaeontologist and her struggles with her own identity and sexuality while establishing a new friendship with a woman named Charlotte.

Additionally, to the above story core, the movie is painted with a decorous brush of beautifully presented areas of Lyme Regis in the county of Dorset, where Anning was working on her fossils discoveries while living with her elderly mother. The main heroine looks like a woman, who is cold and reserved towards any human interactions. Being so passionate about her work and focused on the constant hunt for new excavations on the local beach, Mary does not see anything else besides that. Working with such a gentle approach towards such firm objects has a great translation of Mary’s own character. Everything slowly and calmly changes, when Anning needs to start taking care of a young woman called Charlotte. Her wealthy husband first joins Mary to assist her at work, to later make his way to London, leaving his wife under the care of Anning, which is rewarded with good pay from him. Fighting with melancholia after losing her baby, Charlotte slowly not only opens herself in front of Mary, but she opens her heart and soul towards this new and intense connection, that brings temporary happiness into their lives. Happiness, that was hidden as deep, as ammonites imprinted on rocks, that with a proper touch unreveal what is really precious and valuable.

Francis Lee got two acclaimed and powerful female actresses - Kate Winslet and a rising star that is Saoirse Ronan. We both see them quite distant and closed at first, to open up with their stunning performances only when they are establishing an emotional screen connection. Was there an undeniable amount of chemistry between them? I would like to leave it for the open discussion. There were moments when more would be better. I assume that Lee treats his viewer as an intelligent person and wanted to leave some part of the story for the interpretation in each spectator’s own way. The storyline is stable and flows slightly to reach few climax moments when Mary and Charlotte are diving into physical effusions. Perhaps the fact, that Charlotte might be stuck in an unhappy marriage and Mary feeling lonely and needed when her lover gets ill brought them together and ignited the passion. No matter if this part of the story would need more explanation, it does not change the fact, that looking at Winslet and Ronan together is a pure pleasure. We are becoming their biggest fans in the journey of their forbidden and secret love. The honesty mixed tenderness and devotion make their relationship credible, however, a bit more of established bond on the not-physical level would make it a perfect story, of two people, that were fighting against the world, that in the end was not that against them.

AMMONITE is out in the UK cinemas now.

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LYNN + LUCY (2019)

Dir. Fyzal Boulifa

They say, that friends are like angels, who lift you when your wings have forgotten how to fly... But they can also cut these wings off when their feelings are hurt. And the closest the friendship was the bigger the sorrow, anger and pain are when people’s feelings are hurt.

Lynn and Lucy are an example of a perfect friendship. Like sisters, with the connection and bond built since early school years, they know everything about each other. Living across the street they can go for a morning walk with their pj's on, having a cigarette and talk about everything and nothing. Lynn and Lucy know each other for so long, that it is almost impossible to imagine one without the other. When one of them becomes a mother, other one feels so much joy she will be willing to be there for her 24/7. Always. No matter what. You get the picture of this sisterhood, right? Well, nothing lasts forever... As a new mom being in quite “intense” and toxic relationship, Lucy (powerfully played by Nichola Burley) is not willing to change her lifestyle - she still wants to go out, drink until passing out and being a girl she used to be, before little Harrison came into her life, destroying its easiness. All the support she gets from her bestie Lynn (in this role a debuting and really good Roxanne Scrimshaw) might not be enough. Her anxiety and fears, of not being ready to be a mother and perfect, loving wife are finally finding a tragic final. 

What works in LYNN + LUCY is a perfect symbiosis between working-class drama and a friendship fairytale, that slowly turns into the worst nightmare. By small, but importantly detailed scenes of tension or awkward moments, we know something bad is about to happen. It does not spoil at all the tensity and dramatic value of this story. Another strong and painful aspect it’s people’s lynching towards Lucy, that by living in a small and “everyone knows everyone” community, is being slowly and successfully alienated and rejected by everyone. Even Lynn. Other people’s opinion is slowly influencing best friends relationship and turns is, really rapidly, into really intense hostility, that is nothing that has been seen at the beginning of the journey. Perception of who is your friend and who you can count on is being adjusted by the public “execution” of someone, that just a minute ago had everything. Amount of this preconception hurts and reminds us, that the power of words and actions, can ruin anyone’s paradise. The film is shot in 4x3 frame, which does not help to escape this claustrophobic climate, in which nothing first seems exactly as it is. Real-life human tragedy and friendship’s test makes a statement “a friend in need is a friend indeed” as solid, as the heaviness of this extremely well played and made drama. Perfection in every way.

LYNN + LUCY is available to watch on BFI Player as a part of subscription.

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SUPERNOVA (2020)

Dir. Harry Macqueen

What is Supernova? It is the explosion of a star. It is the largest explosion that takes place in space. A supernova happens where there is a change in the core, or centre, of a star. Harry Macqueen invites us to watch a similar process between two men, that go on a journey not only across stunning English areas but also through their souls, only to face a truth and painful reality…

Starring Stanley Tucci and Colin Firth (both equally superb and credible as a gay couple) SUPERNOVA presents the story of Sam and Tusker and their ways of dealing with Tusker’s illness. Diagnosed with dementia, he challenges himself in dealing with his sickness that affects him and his partner. It tests them to the maximum during their journey with moments of happiness, sadness and plenty of memories, that perhaps are the only things that still keep them alive. Sam and Tusker travel in their RV visiting peaceful and charming English sceneries, including stunning areas of Lake District, where the calm atmosphere of the forest and waters contrasts with disturbing and anxious feelings, knowing that their disaster is coming inevitably. Facing the uncomfortable truth is identically painful for both Sam and Tusker. Their conversations about a challenging future create tension, sorrow and help to stop them from living in delusion. The dementia will eventually initiate itsnecessary steps and will change their life to worse… Sam is willing to do anything he can to sacrifice his life for the man he loves. In return, his partner’s guilt and its consequences will be the biggest test of their feelings.

Macqueen created an elegant, balanced and emotionally-charged tale. By telling the story of an older, queer couple with two acclaimed actors as main protagonists he gave a powerful factor to his movie. There is still not enough of queer cinema representation in the mainstream Universe, but seeing movies like this one gives a lot of hope not only to the LBGT stories but also to those not necessary about (and with) younger people. As much as it is a cliché, love has different forms and ages. By looking at two mature men that are so certain not only of their friendship (which was easy to feel through the screen) but their feelings, the director’s way of telling the story removes the dinginess that could happen when portraying a story of gay men. It is sad and does not have a happy ending, but that makes it even more powerful. Another strong aspect of SUPERNOVA is Tucci’s and Firth’s powerful, yet harmonised and fully realised performances. During one of the scenes, Tusker represents so many conflicted emotions with his face than he possibly could do with any words. Facing the reality and knowing that Sam is facing it with him already makes him incredibly miserable, and this is projected so strongly to the spectator that hoping for a happy ending will, until the end, believe that the power of true love will win against any adversities.

SUPERNOVA is out on 20th November across UK cinemas.

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SHIRLEY (2020)

Dir. Josephine Decker

Being an artist is a challenge. Any lack of inspiration, burnouts, anxiety and emotional swings act to the disadvantage of a writer. Meeting the level of success of the previous book and the pressure of writing a new one can have destructible power leading to... artistic rebirth and achieving the peak of the artist’s capabilities.

SHIRLEY is not only a story about Shirley Jackson (played by charismatic and extraordinary Elisabeth Moss) which was an American novelist known from writing horrors and mystery books, but also about her husband Stanley (an American literary critic played by Michael Stuhlbarg) and their unique and toxic relationship. What a spectator sees on the screen is a part of quite bizarre but fascinating life created by Shirley and Stanley and their struggles as intellectuals in the 1940s America. This film, based on a novel also titled SHIRLEY by Susan Scarf Merrell, evolves around the disappearance of a young woman from the campus of the university that Stanley lectures at and Shirley’s attempts to create a novel inspired by this story. Shirley is trying to complete the book, going through more downs than ups as a writer and Stanley trying to care for her by lighting her cigarettes and forcing her to eat dinners at the table and carry on with writing. In the same time, he is also discouraging her by repeating statements, that Shirley’s ambitions to write this book are too high. The couple host a young married newlywed - Rose and Fred. Mind games (mostly triggered by Shirley and Stanley) between duos lead to many tense moments and are the beginning of creative burst for Shirley, that by teasing young Rose wakes up both her own body, soul and mind.

The strongest parts of SHIRLEY are acting performances by Moss, Stuhlbarg and Odessa Young, that by creating the role of lost and conflicted Rose met the acting level of her older colleagues. I still remember her amazing performance in the movie THE DAUGHTER (2015) and I feel like the role of Rose can be the beginning of her blooming career. There is something quite fascinating about the attitude of Shirley. She isn’t a friendly character, but somehow the viewer is attracted to her. Elisabeth Moss’ acting skills helped to create one of the most unique female characters of 2020. Her eyes and lips say more than a million words. It reminds me of Moss’ role as Offred in The Handmaid's Tale. Shirley is multidimensional, with many layers as an artist and a wife that being cheated on is still looking for appreciation as a woman and a writer. Stuhlbarg is showing his confidence, arrogance and nerve as Shirley’s husband and he is doing it with the class and style as a partner, to someone that could be the much bigger talent than he was. The chemistry between them is flawless. The tension of keeping their marriage alive and respectable by others lead to many amazing to watch moments and leave a viewer hungry for more. It is a delight to watch them fighting, talking, arguing and being together. The only thing that I could ask for is more of these moments.

SHIRLEY is out in the UK cinemas on the 30 October 2020.

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SAINT MAUD (2019)

Dir. Rose Glass

Are you a saint or a sinner? Are you a slave of temptation or salvation? Do you believe that a human soul can be saved by punishing the body? Are we allowed to experience pleasures without consequences?

Rose Glass’ debut feature film tells a story of a young nurse named Maud (the name Maud is a girl's name meaning "battle-mighty”) and an ex-dancer Amanda which having a developed stadium of cancer, requires medical assistance and rehabilitation. Described by another nurse (Maud’s predecessor) as ‘c*nt’, Amanda lives alone in a big and fancy house on the top of the hill, occasionally having guests that help her to forget about her misery. Quickly established connection between women is slowly turning into the game between their souls. One is blessed by the grace of Lord that is constantly present in the life of Maud - God is around her and inside of her. Another one is a light and fun-loving, alcoholic, liberated, sexually free artist. Young and self-conflicted nurse (played by Jodie Foster look-alike Morfydd Clark) will do everything she can to release Amanda from her sinful acts, that in Maud’s mind are perhaps the source of her sickness that is destroying her. Two opposite views on faith and religion create perfect opportunities to show a modern view on the topic of devotion, passion and power of believing.

SAINT MAUD is a piece that cannot be easily labelled with one specific movie genre. And that’s one of the strongest values of it. It is not an easy task, to make a classy and unconventional horror movie these days. Amount of clichés and traditional traps of this genre is something that Glass avoided in the best possible way. Excellent performance by Clark, her weirdness and mysterious personality is one of the best acting female creations of 2020. Combination of sharp music moments, scene cuts, contrast between darkness and daylight shift into SAINT MAUD’s favour. The climate of omnipresent immorality and lust is as thick as the level of punishments that the main protagonist is performing to herself. The atmosphere of human and inhuman terror gets thicker and in the end takes a spectator to the highest peak of paranormal activities, that are a pleasure to watch. Main protagonist’s spirituality and her willingness to fight human temptations and demons, that are all around her little saint world are a delightful invitation to the journey of religion and beliefs.

SAIND MAUD is out in the cinemas on the 9th October.

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AND THEN WE DANCED (2019) Dir. Levan Akin

Sometimes the broken ankle hurts much less, than the broken heart...

Cinema knows a lot of love stories with the art of dance as a beautiful background to the core of the human connection, passion and excitement. Where there are a passion and dedication there are emotions and feelings. Some of them - like love - can take us to the sky and some of them - like a heartache - can make us melancholic and full of grief.

Levan Akin tells a moving story of Merab and Irakli, two Georgian male dancers from the Georgian dance school and their passionate way to discover their deepest feelings for each other. As a background to the love elation director shows us amazing images of Tbilisi, the country’s culture and family’s connection and respect for the country and the traditional Georgian dance, that makes this film so unique and graceful, but also really masculine and strong. For those, like myself, who never had the opportunity to see this type of dance, scenes where this dance is being performed are just a delight. Especially that they are spiced with the amazing sound of Georgian music, that takes a spectator to the journey inside the tradition and folklore. 

Merab (played by amazingly good Levan Gelbakhiani) is intensively training with his girlfriend wannabe Mary to get into the National Georgian Ensemble being focused on his future and achieving perfection. His steady mindset is being interrupted by the arrival of Irakli (in this role a very charismatic and handsome Bachi Valishvili), who becomes not only his rival during the dance classes but also an object of Merab’s affection and distraction. The mix of sensuality and masculine energy of the dance brings boys together as they are both starting to discover the last towards each other. Conservative climate of the country and approach towards LGBT communities in Georgia creates a lot of hate towards gay people. It pushes them, to hide their true identities and live their life the way they are expected to. Merab’s love for Irakli (which feels like his first-ever true love) helps him realize who he is. The intensity of feelings towards someone, who has become his secret lover brings a lot of excitement but also confusion and drama, that effect in this young boy’s broken heart.

AND THEN WE DANCED is a great and successful (24 awards and 21 nominations worldwide) representation of Queer cinema. Yes, it does have a bittersweet ending and for some, it might be a cliché of another gay story full of drama and sadness, but these kinds of stories happen. Especially for the younger generation of people trying to find their true self in the world that is not accepting them. Akin’s world is full of cheerful and ‘Coming of Age’ moments, that works perfectly in this movie. With the mix of folk and pop soundtrack vibes and great acting full of chemistry and honesty, this piece is an extraordinary work from the hands of a true artist. Just like the dance, which is so easy to lose yourself, it is equally easy to get lost in the charm and magic of this irresistible story.

AND THEN WE DANCED is available to watch on BFI Player as a part of subscription. 

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EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA (2020)

Dir. David Dobkin

“And 12 points go to...”

How many of us, ESC fans, get excited and pumped by hearing this sentence? The only good and correct answer is ALL OF US! The level of adrenaline is comparable to jumping out of a plane (I can only imagine)... The Eurovision Song Contest is an addictive dose of cheesy music, tacky but stunning outfits and the lines from a tipsy but funny Graham Norton (for those watching in the UK), who will judge anything and anyone. What is not to like?

Netflix is known for releasing some good super productions, but it is also known for producing some average “pleaser” films, that are not very deep and are easily forgettable, but that always find their audience anyway. I am trying to think in which of those two categories does The Story Of Fire Saga belong? Currently, with an IMDb score of 6.6/10 from over 30k votes, this easy and funny movie is not doing as bad as I was imagining after watching the trailer. I am not a huge fan of Will Ferrell but I like Rachel McAdams. The first one is known for being a silly ‘extra’ star on SNL sketches and performing in some stupid comedies. I can’t think of anything else when I think of Ferrell. The second one has marked her presence in the movie industry by being the muse of directors like Woody Allen, Brian De Palma and even playing Regina George in “Mean Girls”, which can be considered a classic pop culture film. Being biased set my mind to dislike this feature as I simply can’t stand Will Ferrell. But I gave it a go. On a Sunday afternoon, being hangover and not looking for anything too ambitious, I watched a story about two passionate musicians from an Icelandic village that wanted to fulfill their dreams of winning the Eurovision Song Contest. No one, including Lars’ (Ferrell) father (played by a well aged Pierce Brosnan) believed in them. And neither did I. But I was wrong. Everything works in this picture. Released in a year where many live events have been cancelled, including the ESC, this piece is a saviour. David Dobkin gave us a joyful piece of musical elations so loved by millions (the 2014 ESC was watched by 204 million people worldwide!) which filled the gap of not having the live contest this 2020. In these specific times, films like this one are mood fixers. Jokes are silly and shallow, but so is the contest itself. With the perfect symbiosis of a love story and a plot twist, Dobkin invites us to a world as addictive as the ESC. There is a perfect dose of music and a few original songs, that will make your feet move, while you watch locked in your house. Will you be tempted to stand up and dance & sing-a-long with Sigrid (McAdams) and Lars (Ferrell)? Absolutely! 

With beautiful images of Iceland, a cameo from many known singers from the world's biggest song competition and music industry (Conchita Wurst, Jamala, Demi Lovato, etc.) and inviting viewers behind the scenes of how the show production really works, this motion picture just joined the “That was fun!” category. The soundtrack, the styling of the costumes, the set design are spot on and very Eurovision. All ESC fans will catch the vibe right away and feel a certain degree of nostalgia. It is not perfect, but it ticks all the boxes of this genre. If a movie makes you switch off for a while and makes you feel good, its mission is complete!

EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA is available to watch on Netflix as part of subscription.

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LILTING (2014)

Dir. Hong Khaou

Fear of losing someone you really love and need can be overwhelming. Maybe even stronger than the very love itself. Saying goodbye to someone who means the whole world to you causes pain, sadness and some kind of disappointment. It is also never easy to fight for the attention and adoration, especially from those that should offer it to us unconditionally.

The emotional impact of “Lilting” is really heavy. I have seen this movie at least 5 times and each time it leaves my soul smashed into small pieces. Even with some funny and cheerful moments the dose of sadness outweighs this modern masterpiece of queer cinema and makes it an important piece. In its stylish and clean form, this film magnetises with exquisite scenes of people’s disruption in their connection on many different levels. To present this in the most suitable and reliable way, director Hong Khaou tells the story about Junn - a Chinese-Cambodian woman, who lost her son - and her ways of dealing with grief after being left alone in an elderly residential home. To help, along comes Richard - Junn’s son’s boyfriend, who suffers from the loss of Kai. He will try to connect with Junn as he feels obligated to support her during this hard time, which is equally hard for both of them. However, there’s 2 main challenges he faces: not having a language in common to communicate with Junn and what’s even trickier, the fact that Kai never came out to his mother, so it still is a taboo topic that Richard can’t tackle. What comes after the first encounter of their suffering souls is a tale of incomprehensions, painful process of solving it and attempts to find a common language. This language is not only the one they speak, but also the one that helps them to get mentally closer.

The expression “lost in translation” is the best representation of Richard’s and Junn’s inability to communicate with each other, unable to explain what their love and affection towards Kai really meant for both. The pressure of proving who had the biggest right to love and adore Kai creates a lot of tension and emotions between the protagonists, which are so well portrayed by these amazing actors. Pei-Pei Cheng playing a bitter and blue mother that doesn’t know how to adapt herself to a foreign culture, radiates agony and mourning aura. We sympathise with her, but also take the side of her son’s boyfriend. Played by Ben Whishaw, he is a perfect counterbalance of channeling being left alone without this one person that gave purpose to his life. His fragility, sorrow and emptiness are demonstrated with such precision that the role of Richard becomes one of Whishaw’s best. By having a partner like Cheng, he has plenty opportunities to shine being swallowed by his misery, but also hope for a better tomorrow for him and his man’s mother. They create a duo of humans with a spectrum of feelings that give the audience a big dose of their pain. What is so unique about human nature are the various kinds of love. One should not be worse or better than the other. It also applies to pain, grief and a heartbreak. 

LILTING is available to rent on YouTube for £3.49

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TUCKED (2018)

Dir. Jamie Patterson

It is never too late to change your life. Never too late to realise that there is nothing that we cannot fix. And if we have a friend by our side, who will support us in each step towards the catharsis, it is easier and funnier. It is better. It certainly feels good to love and to be loved. To not close yourself to new opportunities or stepping out of our comfort zones, as it is the only way to challenge ourselves and discover who we really are.

In this bittersweet tale about what seems an unusual friendship at first, we witness the birth of a unique relationship between Jackie and Faith. Both being drag queens in Brighton’s most famous night club, these 'ladies’ of the night bonded after being attacked outside of this club, the only place where they actually seemed to feel really safe at. When a group of drunk and homophobic men assault them, they do not hold back. Ending up in hospital after trying to defend their honour, wearing high heel boots and their inner and exterior glamour shinning through, Jackie and Faith never felt more alive. This night will link their lives forever and will be the beginning of something really special and intense, but unfortunately quite short. Jack aka Jackie (role played by the charismatic and trully funny Derren Nesbitt) has around 7 weeks to live after being diagnosed with an aggresive form of cancer. The last thing he wants to do is to think about his illness, hence why he decides to catch up on stuff he never managed to do. That is when Faith comes in - a young, brave and feisty drag queen who just started her career. By being confident and true to herself, she triggers a sequence of events that will help Jack(ie) to tick some things off his Bucket List, which will make his last days happier. Faith (played by Jordan Stephens, known from the band Rizzle Kicks) brings a wave of fresh and very much needed air into Jack’s life. The chemistry between them is full of funny and sarcastic jokes. It works perfectly. You believe them so much you wish to become part of their friendship. You want to join their little adventures. 

This story is a great reminder that sometimes you need to sacrifice a lot if you want to live your life, even if that means living it the way others don’t want you to. It proves that if you follow your own needs and authentic self, chances are that everyone will not be happy about it. Maybe in the end it is better to regret things that you have done than those that you haven’t. If this haunting feeling of regret will push us to fight for a better tomorrow, that is not always guaranteed, perhaps it is worth the risk. “Tucked” is a perfect piece to watch during Pride month to point out that you shouldn’t judge a book by its cover. That, underneath all the glitter and layers of make-up we are all the same - we want love, happiness and acceptance. And that we are more than our sexual orientation that very often determines how society sees us. With a great soundtrack that accompanies the enriching, emotional and charming moments, this movie leaves you in a perfect positive and hopeful mood. 

TUCKED is available on YouTube to rent for £1.99

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BASIC INSTINCT (1992)

Dir. Paul Verhoeven

Intensity of desire and physical pleasure can lead to a temporary satisfaction and a permanent chaos. As humans, we need to fulfil our basic needs. If with that we can have some fun, excitement and risk involved it starts to become a game, in which we can either win or lose. No risk no fun they say. Well, they might be right.

I was 5 years old when Basic Instinct was released. There was no option my parents would let me watch this movie for a very long time. So I was waiting and waiting and waiting. And at the age of 33, I finally decided to watch this sexual, sensual and tense mystery thriller. Looking at the 90s from the perspective of a thirtysomething guy makes me really nostalgic. That was the time when movies like Copycat, The Silence of the Lambs or Seven had their splendor and made viewers really involved in the crime stories on the big screen. One of those stories was a “romantic” tale starring Sharon Stone’s legs and Michael Douglas’ hands. Both strong, firm and irresistible, they have created one of the best toxic couples in the last century with cigarettes, cocaine and Jack Daniels as their best friends. 

Paul Verhoeven invites us to the world of alpha male cops that enter their offices after a night of drinking with their work buddies. He immerse us into the universe where women need to display their power and strength by being sexual and desirable objects. His biggest tools are definetly Sharon Stone and Michael Douglas. Her female daze, way of walking and seduction skills prove to be working perfectly. As Catherine Tramell - rich and talented novelist - Stone made us fall in love with her noxious but confident character. It did not take her long to persuade violent and lost Detective Nick Curran (played by Douglas) to fall into her arms and being left with scratch marks from his dangerous sex encounters with Tramell, so full of dangerous devotion. All of this is garnished with jealousy, addictions and lust. Perhaps only the ice, so perfectly crushed by the ice pick, can cool down the heat between Catherine and Nick. Moments of tension when the spectator feels like something bad is about to happen are really delightful and become an excellent roller coaster of emotions, something so characteristic about this genre. 

And let’s not forget about the famous leg crossing interrogation scene, which still remains quite shocking and provocative in 2020. Stone recreated it while accepting the ‘GQ Woman of the Year Award’ in 2019, to make an important statement about the #metoo movement, situation of women in the film industry and abuse of power: “Each and every one of you is going to have a moment like mine — a moment that changes your life. One you might be aware of when it's happening and one you might not. But I'll tell you this: You're going to have one if you haven't had it already. And you’re going to be held accountable for it, if you haven’t already. And people are going to ask you a lot of difficult questions, if they haven’t already. So the time to decide who you are is now. The time to decide what you do with the tender, important, beautiful, savage, passionate, most important part of yourself.” 28 years after, this is still one of the most iconic scenes in the history of cinema. Scene where it seems like Tramell is the one being interrogated, but she is the one in control leading and manipulating these “strong” and “dominant” men. 

BASIC INSTINCT is available on Amazon Prime to rent for £3.49

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HONEYLAND (2019) 

Dir. Tamara Kotevska, Ljubomir Stefanov

There is a land out there, sacred and celebrated. With the touch of understanding and respect for nature. The land where bees are treated with the appreciation and recognition they deserve.

Beeing the most awarded movie of 2019 Sundance Film Festival, “Honeyland” dazes with the extraordinary portrait of North Macedonia mountains and the touching story of Hatidze Muratova. As the only remaining female bee-hunter in Europe, she cultivates honey in the most respectful ways using ancient beekeeping traditions. Her knowledge and approach to the subject make the viewer fall in love with everything she does. Hatidze lives in precarious conditions while taking care of her elderly mother. She feeds her, helps with changing the dressing on her face, she is there for her. Their small but adorable arguments add an extra flare to this remarkable story of two women almost forgotten by humanity. Without any electricity or modern facilities, Hatidze doesn’t seem to know another way of living. Taking happiness from the smallest things, she is a great reminder that perhaps the more we possess, the less we own and see. Especially around us. Even when her peace is disturbed by the new neighbours that decide to bring hives and turn her holy honey ritual into a business, she remains full of grace and passion.  This documentary speaks for itself. Images of the presented culture and rural habits are so powerful in every gesture given by citizens of this isolated part of the world, so well shown from the view of the directors’ duo. Knowing that the production of Honeyland took three years and it was challenging in many aspects, starting from the language barrier, the location itself and finishing with capturing the most intimate moments, deserves a huge recognition. As the documentary progresses, the bees’ noise becomes more and more haunting, but we cannot forget that they are the protagonists of this film. 

Scenes where we can see Hatidze looking into the afternoon sun after walking many miles, surrounded by the Macedonian hills are truly magical and majestic. There is a sense of nature inviolability, there is a feeling of dignity towards the air, water and earth. Her raw and kind humaneness makes her someone so special that there is an instant connection and compassion. The universal message of tribute for everything around us was never stronger. It is simply a splendid and an astonishing story. 

HONEYLAND is available on Amazon Prime to rent for £3.49