Odgledah:

[KRKNA]

Jasasesmorila...i to baš...blah

The Wife
https://www.imdb.com/title/tt3750872/

[goozica]

a private war

https://www.imdb.com/title/tt2368254/

ne znam što mi je ovo trebalo.

[KRKNA]

Sažvakana priča...zašto stradaju crnci...
Blah...
The Hate U Give
https://www.imdb.com/title/tt5580266/

[goozica]

Creed II. Da snime jos 10 nastavaka i da ssu najvece smece, gledala bi.


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[Olosh]

Creed II. Da snime jos 10 nastavaka i da ssu najvece smece, gledala bi.


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Ista stvar.

[KRKNA]

i $ednem ja da ga odgledam, s obzirom na to da se 'guzim' dvije godine, i manje više shvatim ja metafore (paralele knjigee i stvarnosti) i kraj (kučko, dobila si što si tražila, kad joj je rekao nešto tipa - nikad više ovo dobiti nećeš...bla, bla)...ali ništa od mene...u meni...previše sam očekivala...
Hvala, ali ne hvala..
i za ovakve nedovršene krajeve (smisli sam kraj) filmova ostavimo iranskom Farhadiju...koji je velemajstor u tome.


Nocturnal Animals
https://www.imdb.com/title/tt4550098/

[Rakun]

Creed 2 u rangu Dizelovog pajsera u glavu bez traga

Hoću da poslije 8 rundi komaćenja izgledaju ovako


A ne ka da mogu u grad izać

Ono neko te skoro ubije tako što te sat vremena tuče šakama u glavu, a tebi samo prsla arkadica

[KRKNA]

Više sam očekivala...Vi probajte, možda ga drugačije doživite, pa ga i predložite...


In the Fade
https://www.imdb.com/title/tt5723272/

[SpellStealer]

Creed II. Da snime jos 10 nastavaka i da ssu najvece smece, gledala bi.


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[aLaPaCha]

Life itself. Mnogo dobar film. Svidja mi se.

[Rakun]

Rocky(i to bilo koji, a ima ih groznih) je filmčina za Creed

[starwalker]

Beast [2018]

Osrednji britanski indie trilerčić nepoznatog autora ALI... taj osjećaj iščekivanja nečeg pogrešnog i jezivog u cjeloj priči, u kombinaciji sa moćnom fotografijom i kadrovima, stvara totalno hipnotizujuću atmosferu koja te ne hladi do samog kraja. U tom svjetlu, mogu mu se oprostiti neki propusti.

Svakako preporuka.

[KRKNA]

Očekivala sam od Farhadija više...tj.najgori od najboljih...
a vi dobro pogledajte svoje najbliže...

Todos lo saben
https://www.imdb.com/title/tt4964788/

[amnesiac]

Više sam očekivala...Vi probajte, možda ga drugačije doživite, pa ga i predložite...


In the Fade
https://www.imdb.com/title/tt5723272/

Mene je od filmova Fatiha Akina koje sam gledao (još uvijek nijesam The Cut i Goodbye Berlin) jedino u potpunosti zadovoljio Soul Kitchen. Ostali su mi nekako, kako da formulišem, nesavršeni. Da se razumijemo, ima jedan režiser kojeg baš volim a koji pravi nesavršene filmove. U pitanju je Pablo Trapero, no on nije ni izbliza poznato ime kao Akin. Akinovi filmovi mi se sviđaju, ali uvijek ima to "ali".

Da pređem na stvar. Po meni, film pati od sindroma od kog pati dobar dio filmova koji se prikazuju u Kanu, a to je obrada neke političke ili socijalne teme i tu se ide do kraja i preko mjere. SPOILER ALERT! Siguran da će obradom teme koja je aktuelna, a to je uspon ekstremne desnice, pobrati pozitivne kritike, Akin, po meni, pravi grešku time što nepotrebno naglašava predrasude etničkih Njemaca prema onima drugog porijekla. Sam sudski postupak je karikiran, pa je advokat odbrane lice za koje bismo pomislili da je upravo pobjegao sa električne stolice, a u to da u kući drži Hitlerov portret ne treba ni sumnjati. Što se tiče Suda, za sve kriminalce ovoga svijeta bi Njemačka bila obećana zemlja da je baš onakva situacija jer se niđe ništa dokazalo ne bi. Potpuno nepotrebne rupe u režiji i scenariju, a da je sve suptilnije odrađeno bilo bi neuporedivo bolje.

Diane Kruger fantastična.

[KRKNA]

Kuku, kakav smor od filma...

Searching
https://www.imdb.com/title/tt7668870/

[NexusVI]

The Ballad of Buster Scruggs - kome se povracalo od Hail, Cesar-a vjerovatno nece mirisati ni ovo.
Meni se bas svidio. Ide na stranu ovih dobrih od Coen-a.

Kome se povraca od Hail Cesar-a vise je za kakve manuelne poslove nego poetiku, makar i ibarske magistrale a ne onakvog reda.
A Buster ide na stranu elitnih generalno. Zvek sto su napravili onamo, svaka pricha je odlichna, pojedine -remek djela!

Pominjem ga vidjevsi, sad neki dan, nominacije za isplakanog oskara. Nije da su bitne zere jedne, ali kad medju nominovanim nema Zoe Kazan (unuka Elie Kazana, kome to znachi nesto), onda bas -Sikter more!
U prichi "The Gal Who Got Rattled" toliko dobro je dala lik zene/djevojke tog vremena-miljea, ne znam od kad ne vidjeh tako nesto. Prosto sramota pominjat (uz duzno i neduzno postovanje) i Lady njagu i druzinu, bilo koju tj. od drugarica nominovanih za glavne-sporedne uloge, a preskochit ovu malu.

Ochigledno nije dovoljno veliko ime/nema hajpa oko nje, a i sam film nije po holivud-PC ukusu izgleda.

[KRKNA]

Ništa specijalno...
Allied
https://www.imdb.com/title/tt3640424/

[KRKNA]

Gledam i ne vidim ništa 'oskarovsko'...ili ja ne umijem da gledam...

Hell or High Water
https://www.imdb.com/title/tt2582782/

[PavleCL]

^Sta ti znaci oskarovski? Film je uspio u onom sto je pokusao, nema tu nekih karefeka, sveden film na onoliko koliko je dovoljno. Slican mi je kao Widows iz prosle godine ali je Hell or High Water znacajno bolji.

Kome se povraca od Hail Cesar-a vise je za kakve manuelne poslove nego poetiku, makar i ibarske magistrale a ne onakvog reda.
A Buster ide na stranu elitnih generalno. Zvek sto su napravili onamo, svaka pricha je odlichna, pojedine -remek djela!

Pominjem ga vidjevsi, sad neki dan, nominacije za isplakanog oskara. Nije da su bitne zere jedne, ali kad medju nominovanim nema Zoe Kazan (unuka Elie Kazana, kome to znachi nesto), onda bas -Sikter more!
U prichi "The Gal Who Got Rattled" toliko dobro je dala lik zene/djevojke tog vremena-miljea, ne znam od kad ne vidjeh tako nesto. Prosto sramota pominjat (uz duzno i neduzno postovanje) i Lady njagu i druzinu, bilo koju tj. od drugarica nominovanih za glavne-sporedne uloge, a preskochit ovu malu.

Ochigledno nije dovoljno veliko ime/nema hajpa oko nje, a i sam film nije po holivud-PC ukusu izgleda.

Netlix je gurao Romu, procitah nedje da je vise ulozeno u kampanju za oskara vise nego sto je budzet filma.

[starwalker]

Netlix je gurao Romu, procitah nedje da je vise ulozeno u kampanju za oskara vise nego sto je budzet filma.

Kad smo kod Rome

https://blogs.spectator.co.uk/2019/0...-slavoj-zizek/


Edit: zaključali su članak

Roma is being celebrated for all the wrong reasons, writes Slavoj Žižek

My first viewing of Roma left me with a bitter taste: yes, the majority of critics are right in celebrating it as an instant classic, but I couldn’t get rid of the idea that this predominant perception is sustained by a terrifying, almost obscene, misreading, and that the movie is celebrated for all the wrong reasons.

Roma is read as a tribute to Cleo, a maid from the Colonia Roma neighbourhood of Mexico City working in the middle-class household of Sofia, her husband Antonio, their four young children, Sofia’s mother Teresa, and another maid, Adela. It take place in 1970, the time of large student protests and social unrest. As already in Y Tu Mama Tambien, Cuaron maintains distance between the two levels, the family troubles (Antonio leaving his family for a younger mistress, Cleo getting pregnant by a boyfriend who immediately abandons her), and this focus on intimate family topic makes the oppressive presence of social struggles all the more palpable as the diffuse but omnipresent background. As Fred Jameson would have put it, History as Real cannot be depicted directly but only as the elusive background that leaves its mark on depicted events.

So does Roma really just celebrate Cleo’s simple goodness and selfless dedication to the family? Can she really be reduced to the ultimate love object of a spoiled upper-middle class family, accepted (almost) as part of the family to be better exploited, physically and emotionally? The film’s texture is full of subtle signs which indicate that the image of Cleo’s goodness is itself a trap, the object of implicit critique which denounces her dedication as the result of her ideological blindness. I don’t have in mind here just the obvious dissonances in how the family members treat Cleo: immediately after professing their love for her and talking with her ‘like equals’, they abruptly ask her to do some house job or to serve them something. What struck me was, for example, the display of Sofia’s indifferent brutality in her drunken attempt to park the family Ford Galaxie in the narrow garage area: how she repeatedly scratches the wall with chunks of plaster falling down. Although this brutality can be justified by her subjective despair (being abandoned by her husband), the lesson is that, due to her dominant position, she can afford to act like that (the servants will repair the wall), while Cleo, who finds herself in a much more dire situation, simply cannot afford such ‘authentic’ outbursts – even when her whole world is falling apart, the work has to go on…

Cleo’s true predicament first emerges in all its brutality in the hospital, after she delivers a stillborn baby girl; multiple attempts to resuscitate the infant fail, and the doctors give the body to Cleo for a few moments before taking it away. Many critics who saw in this scene the most traumatic moment of the film, missed its ambiguity: as we learn later in the film (but can suspect now already), what truly traumatizes her is that she doesn’t want a child, so a dead body in her hands is good news.

At the film’s end, Sofia takes her family to the beach to help Cleo deal with her heartache (in reality, they want to use her there as a servant, although she just went through a painful stillbirth). Two of the children almost drown in the currents but Cleo wades in to rescue them even though she herself can’t swim. The event leads to Sofia and the children declaring their devotion to Cleo for such selflessness and Cleo breaking down, admitting she never wanted the baby in the first place. Back home, as she returns to the drudgery and prepares another wash, Cleo says to Adela she has much to tell her, as a plane flies overhead.

After Cleo saves the two boys, they all (Sofia, Cleo and the boys) tightly embrace on the beach – a moment of false solidarity if there ever was one, a moment which simply confirms that Cleo is caught into the trap that enslaves her… Am I dreaming here? Is my reading not too crazy? I think Cuaron provides a subtle hint in this direction at the level of the form. The entire scene of Cleo saving the children is shot in one long take, with the camera moving transversally, always focused on Cleo. When one watches this scene, one cannot avoid the feeling of a strange dissonance between form and content: while the content is a pathetic gesture from Cleo who, soon after the traumatic stillbirth, risks her life for the children, the form totally ignores this dramatic context. There is no exchange of shots between Cleo entering the water and the children, no dramatic tension between the danger the children are in and her effort to save them, no point-of-view shot depicting what she sees. This strange inertia of the camera, its refusal to get involved in the drama, renders in a palpable way Cleo’s disentanglement from the pathetic role of a faithful servant ready to sacrifice herself.

There is a further hint of emancipation to come in the very final moments of the film when Cleo says to Adela: ‘I have much to tell you.’ Maybe, this means that Cleo is finally getting ready to step out of the trap of her ‘goodness’, becoming aware that her selfless dedication to her family is the very form of her servitude. In other words, Cleo’s total withdrawal from political concerns, her dedication to selfless service, is the very form of her ideological identity, it is how she ‘lives’ ideology. Maybe explaining her predicament to Adela is the beginning of Cleo’s ‘class consciousness’, the first step that will lead her to join the protesters on the street. A new figure of Cleo will arise in this way, a much more cold and ruthless – a figure of Cleo delivered from ideological chains.

But maybe it will not. It is very difficult to get rid of the chains in which we not only feel good but feel that we are doing something good. As T.S. Eliot put it in his Murder in the Cathedral, the greatest sin is to do the right thing for the wrong reason.

Tapatalk

[KRKNA]

Niti mi je legao film, a ponajmanje glavna glumica...koja je totalno bezlična i neubjedljiva

The Tale
https://www.imdb.com/title/tt4015500/

[KRKNA]

Smorčina žešća.

Arrival
https://www.imdb.com/title/tt2543164/

[nimfa]

Smorčina žešća.

Arrival
https://www.imdb.com/title/tt2543164/

Ауффф јел могуће

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[kaemSe]

Krkna nema sanse da to mislis?

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[PavleCL]

Krkna drugi kiks u 4 dana.
Da ne bude spam, pogledah kultni Repo Man, po svim parametrima bi film trebao da bude ****** ali ipak nekako funkcionise.
https://www.imdb.com/title/tt0087995/