Take two of Berlinale is that, organisationally, it is a festival of extremes. Gliding between its seamlessly sewn edges, sometimes one gets the forgotten sharp pin.
Social exclusion has many faces, the most obvious ones are the ones least discussed. For example, why is the audience cordoned off so that the performers and informers can pass by? Are they to serve the public, or to rule it? If they say they are inviting you in, walk in. See what happens.
Shifts the eternal war between sexes in one tiny scene – explaining, in what is essentially a high standard courtroom drama, something preciously true, if you know where to look.
A glossy millennial ghost story that wants to take itself seriously and not seriously at the same time. But I did dig its soul.
Saying NO to the devil after walking through the valley of the shadow of death for two hours should get a bit more love.
Frances McDormand is an Old Testament act of God in Three Billboards, all wrath and unrelenting righteousness, avenger of womanhood desecrated, mother archangel of lost causes.
This should have been a masterpiece. It has it in its genes. But it’s not. Because it was rushed. No one gets away with bullying the muse.
There’s great heart in Margot Robbie in taking on a national joke, a second-hand villain, and turning her into a quiet hero, in all her vulnerable garishness, her terrier posture, her awkward dignity.
Lola On Film is designed to deconstruct the spectacle, measure empty calories, offer nutritional insights on films newly released, as well as archival treasures (and junk), assess the state of film culture, new formats & hopefully, illuminate cinema’s place in society, as well as in our individual psychology.