Kogonada’s vision for the future looks like what is now Sedona, Arizona. People wear loose linen, always use their inner voice, and look unnaturally mellow. The calm mood is carried over to their work. Jake (Colin Farrell) runs a coffee shop in the mood.
To complete their happy family, he and his wife, Kyra (Jodie Turner-Smith), as ethnically compatible siblings of their adopted Chinese daughter Mika (Malea Emma Tjandrawidjaja). , I bought “technosapien” android Yang (Justin H. Min). Unfortunately, one day Yang shuts down after a very aerobic dance routine. Jake bought a rough refurbished model in an attempt to save money, so repairing him turns out to be a challenge.
at first “After Yang” It feels like an unintentional parody of over-progressive parenting. But when Jake visits Yang’s memory bank and is fascinated by what he finds, the film becomes itself. Not only did the android have memories first, but he was able to form emotions — an important step to sensibility. “After Yang” subtly explores the meaning of having a conscience, or perhaps a soul, and also suggests some receptivity when it comes to technology. Jake treats the robot as part of his family, but looks down on his neighbor with a cloned child. Kogonada does not deviate from the silky smooth tone, but underneath it has bristles.
Why is something that looks so harmless-it drifts slowly in nice pastel colors-so deadly? However, it takes only 10 seconds of exposure to die from the suddenly materialized pink clouds around the world. Therefore, authorities have ordered people to evacuate wherever they are. For Yago (Eduardo Mendonsa), this means an apartment in Giovana (Lenata de Relis). When they first had sex together the night before the clouds came, they were unaware that they would get stuck together for the next few days. This will be a few months. This has been years.
If you don’t want to dismiss the Brazilian director Iuli Gerbase’s movie as being on the Covid-19 trend, first notify your viewers: “Pink clouds” Created in 2017 and shot in 2019. The similarity to a pandemic with a long-term blockade is purely coincidental.
Fable-like films portray life spent indoors with drolls, semi-detached tones that make it easier to overlook the holes in the plot. Instead, focus on the whims of the moody cohabitation of Yago and Giovana, as in “The Scene from Forced Marriage.” There is no end to being trapped in sight, and the character handles de facto imprisonment in two very different ways — and each feels completely understandable.
Stephen Bristol’s debut feature Make up for your limited budget with oversized wisdom and heart. (People have noticed: the director is working on a thriller starring Jennifer Hudson, Milla Jovovich, and Quvenzhané Wallis.)
Best friends CJ (Eden Duncan-Smith) and Sebastian (Dante Crichlow) are happy to apply their technical skills to strange jobs around East Flatbush, such as attending Bronx High School and refurbishing a neighbor’s laptop. I’m a teenage nerd. But their big project is time travel devices. When CJ and Sebastian finally succeed in being one day late, they are involved in a police atrocities and desperately try to prevent them on their next return trip. This only creates ripples in the overwhelming children’s uncontrollable consequences that teacher Michael J. Fox warned with a sweet cameo. The ambiguous ending can be read as a suggestion that the cycle of violence may prey on itself forever. Alternatively, you can choose a more optimistic interpretation.
The influence of Bristol’s mentor Spike Lee (producer) is evident especially in the naturalistic and vibrant neighborhood scenes and in Bristol’s confident and efficient staging.
The 18th century fairy tale “Beauty and the Beast” influenced many adaptations. This Japanese movie It counts as the best — and certainly the most emotional. It’s not surprising because it’s by Mamoru Hosoda, one of the best anime directors (“Wolf Children’s Rain” and Academy Award-nominated “Mirai of the Future”). The story revolves around a high school bell, who is struggling to overcome the sadness caused by the accidental death of her mother. Suzu finds her escape in U’s virtual world, where she becomes the popular singer Bell. Eventually she meets Beast, a giant demonic figure hunted by Justin (essentially Gaston’s character). Hosoda skillfully alternates between the naturalistic family life of the bell and the fantastic and beautifully designed U. But what makes the “bell” really shining is the way children deal with death and violence. These topics are delicately proposed and depicted as part of everyday life that we must learn to navigate. Emotionally in a way that apparently feels completely earned, similar to the movie epilogue, after a bell and her friend spent a considerable amount of time understanding who is hiding behind the beast’s avatar. It’s devastating.
Don’t worry about watching people munching on fried chicken as it often happens in Kentucker Audrey and Albert Birney Whimsical indie film.. Fried chicken shakes are also offered as we went crazy in the world in 2035.
In fact, it’s easy to imagine a fast food chain now selling such novel delicacies, but the real subject of the movie-dreams are taxable-is a bit farther possible. Or is it? After all, the commercialization of imagination isn’t new, so the movie feels just a few steps ahead of us.
James (Audrey) is an auditor checking in to Arabella Isadra (fun Penny Fuller), an elderly woman who hasn’t paid a membership fee for the first time in a while. At least she had the sensation of recording her dreams on the antique VHS tape that James was trying to see. Filmmakers evoke the gentle mischievous psychedelics of the 1960s and 70s (with the help of Dundeecon’s scores). Even if the “Strawberry Mansion” gets confused, it’s hard to keep going, just to see what the nuts are. shop. Find the amazing character actor Reed Birney (Albert’s uncle) and shock the movie as Arabella’s terrible son.