Reviews

Varda's approach is always rooted in reality, yet she's best at fiction. This realist masterpiece blends reality with fiction, presenting a documentary-like style that subtly highlights its fictional nature: all the scenes of Mona’s life before her death are fabricated. The people she encounters in reality narrate her story, integrating her into their own narratives. However, the film, through the power of imagination, grants the wandering Mona full autonomy and the right to exist freely.

This film mirrors reality, reflecting the current era's restlessness, chaos, and anxiety. The director merges contemporary phenomena like Zoom meetings, overtime work, and social media influencers into a collage, employing parallel editing to portray the pandemic, the shadows of war, rampant capitalism, and the exploitation of workers. The extended scenes of the protagonist driving are essential, illustrating the harsh reality of workers forced to work overtime for a living, where accidents are inevitable. This directly ties back to the scenes of workplace injuries, criticising the capitalist system.

If the film wasn't three hours long, I might have finish it. The satire is presented in a mockumentary style, which is a refreshing approach. The face-swapping segment in the short video was particularly amusing, and the hints of female solidarity were somewhat moving. But the runtime is simply too long.

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Buenas noches, me encanta la película del de Terminator son muy importantes,es muy protector y además, tiene muchísima acción es impresionante me encanta la forma tan protectora ha cualquiera le gustaría que lo cuiden Hasi,etc.

A very very good movie.Love it so much

The cinematography is amazing, but the theme really unsettles me—it's like looking at my own life and feeling like I'm trying to run away from stuff to feel better, but it never really works. In the end, I just end up accepting things the way they are. Persona is always there, and silence is just another way to hide. Maybe the version of me others see is just another persona I want people to see.

This movie is a mind-bender packed with mysterious, intricate, and thought-provoking stuff. The visuals are like something straight out of a dream, and the story carries a bit of a melancholy vibe. Elizabeth keeps to herself often, which contrasts with Alma, who's always chatting away. Ingmar Bergman is a master at wielding provoking images together, especially those close-ups of Elizabeth's and Alma's necks and faces, showing how Alma is changing and how Elizabeth speaks again. It's like they're somehow connected, almost inside each other's heads.

Sergei Parajanov's work in this one is way more accessible than his other movies. But honestly, it didn't quite hit me the way I expected. Back in the day, before all the flashy stuff, the cinematography in this film was just out of this world – it had this intriguing vibe, like a blend of Baroque splendor and those old Dutch countryside Renaissance paintings. But despite how great it looked and sounded, I think the characterisation could've used a little more depth, especially in a movie known for its poetic storytelling.

This film is a real gem when it comes to psychological thrillers. A lot of classics took inspiration from it. It starts with just one family photo and then takes you on a wild ride through all kinds of messed-up thoughts. It also has some cool symbols that aren't part of the story, like close-up eyeballs at the beginning and end, hands, and food that symbolizes greed. These things are all over the movie and become visual signifiers. The cracks in the walls are not just about the room falling apart; they're also about the main character, Carole, losing her mind. It's a total mind-blower.

This movie goes deep into people's minds, showing how being stuck in a small space can make them feel like they're being hunted and itimidated, even to the point where they do bad things without knowing it. The first half is slow and kind of oppressive, but then it hits you with some scary stuff that's really jarring. One thing that stands out is this hand coming out of a crack in the wall – it's genius and makes you go, "Whoa!" Roman Polanski is really good at showing how fear and guilt can mess with people, and he does it even better in his early movies.

The last part of this movie is amazing! The visuals are so fancy and complex; it's like they're showing you all the desires in the characters' minds. Their feelings are visually shown through dreams. You really get to know the character better. The movie is like an experience of breaking free from all the bad stuff in life – terrible marriage, family problems, childhood fears – and finding the kid inside again. It's all done with these crazy colors and emotions, enhancing the storytelling further. It's like a beautiful love letter to Giulietta Masina.

This movie is just a huge letdown. Federico Fellini has all these cool elements, like dreams, colors, and costumes, but he doesn't use them to tell a story that's worthwhile. It was a bad move to have his wife stop doing her great acting and just rely on visual stuff to carry the movie. On top of that, Giulietta Masina also had a hard time creating the mystical, melancholy feeling that her character needed.

This movie is a real treat for the eyes – the colors are so vivid, and the costumes are so stylistic. The film is divided into three parts, telling a sad story. But that last scene, where the two main characters meet up again in Cherbourg at night, with the snow and the beautiful music – it feels like it will be a happy ending, but then it just cuts off and leaves you wondering. It's kinda cheesy, but still really romantic and sad.

The story might not be the most exciting thing ever, but that conversation at the end, with the snow falling down, is something you won't forget. It really gets to you. And the actors, especially the young Catherine Deneuve – are stunning; you can't take your eyes off them. Plus, the makeup, costumes, and sets are amazing – the colors still look really pretty even today.

The movie starts with this long shot that takes you into the house. It has effectively transformed the subject-object relationship, giving you a little hint about how complicated the relationships are between the characters. And at the same time, it shows you around the house and how "class" is a big deal in this story. After that, the way they move the camera around inside the house is also amazing – it's like you're just floating through space, and it is complemented by the wonderful sound design. The whole movie has this kind of weird, creepy feeling, and the way the characters look and talk is mysterious and makes you want to know more about them. Plus, they sneak in some stuff about homosexuality that adds even more to the story.

This movie is amazing – it's got all kinds of cool things going on. It's like a modern version of "The Odyssey." The way they start the movie with a voiceover while showing the cast and crew, with those cool tri-colored effects, is really impressive. Brigitte Bardot and Fritz Lang are great in it. The music is spot-on and never gets boring. However, the fights between the couple seem to go on forever. But overall, it's a great movie.

I didn't think I'd get tired of looking at Jean-Luc Godard's stuff ever. The middle part of this movie is reminiscent of "Breathless," but even though he puts a lot of work into the colors, costumes, and camera work, it just doesn't hold up in terms of the story and feel. The music keeps using the same orchestral stuff and doesn't do much to make the movie feel intense or important. But the first shot, where the camera looks right at the audience, and the ending, where it goes to face the ocean, are both really cool.

In this film, Ingmar Bergman keeps the simple style going, with plain sets and a small group of really good characters. But don't let that fool you – their conversations have deep meaning. The movie goes deep into some big ideas about life and God, and there's this line that says "God's silence is excruciatingly painful." It's like everyone in the movie is feeling that pain deep down, and it's also a really great way to sum up what the movie is all about.