**Director's Review of Faut-Narabarhi (2024)**
As the director of Faut-Narabarhi, this journey has been nothing short of exhilarating. From the very beginning, my vision for the film was to create a suspenseful, intense narrative that keeps the audience on the edge of their seats, questioning every twist and turn. I'm proud to say that we've achieved that, and the result is a film that not only tells a compelling story but also evokes real emotion and keeps you thinking long after the credits roll.
The concept behind Faut-Narabarhi was inspired by the complexity of human nature and survival instincts. I wanted to dive deep into the characters' struggles—how they deal with not just external threats, but their own inner demons. It was important for me to explore the dark, raw sides of human behavior, which is reflected in both the writing and performances.
Working with an incredibly talented team of actors was a dream come true. Every cast member brought their A-game, and their performances truly elevated the story. From the intense, dramatic scenes to the quieter moments of introspection, I’m incredibly proud of how the actors brought the script to life. Their commitment and passion for the project shine through in every frame.
When it comes to the storytelling, I made sure the film had a steady pace with moments of high tension, unexpected twists, and emotional depth. I wanted Faut-Narabarhi to be a film that challenges the audience’s expectations while keeping them emotionally invested in the characters' journeys.
Cinematically, I knew that the visuals had to reflect the dark and mysterious tone of the film. Every shot was meticulously planned to ensure that the atmosphere of suspense and tension was palpable. Our talented cinematographer and crew did an incredible job capturing the essence of the narrative, from the moody lighting to the carefully composed frames.
The sound design and score were also crucial elements. I believe sound can elevate a thriller, and in Faut-Narabarhi, we used it to heighten suspense, add layers to the story, and create an immersive experience for the audience. The moments of silence, followed by sudden crescendos of tension, are integral to the suspenseful tone I wanted to maintain.
Ultimately, Faut-Narabarhi is a labor of love—a product of hard work, collaboration, and a shared passion for telling a story that leaves a lasting impact. I hope the audience feels the same level of excitement, suspense, and intrigue that I did while making this film. It’s been a privilege to bring this story to life, and I look forward to hearing the audience's reactions as they experience the twists and turns of Faut-Narabarhi.
— **_Harsh Gogi, Director_**

Having eagerly awaited Faut-Narabarhi, I can confidently say that it does not disappoint. From start to finish, the film captivates with its raw intensity, gripping suspense, and intricately woven plot. Directed by Harsh Gogi, the movie masterfully balances tension, drama, and unpredictability.
The film's premise—an intense battle for survival amidst dark secrets—immediately draws you in. The characters, each facing their own personal demons, are layered and complex, keeping you invested in their journey. The suspense is palpable throughout, with every scene keeping you on the edge of your seat, never quite sure what twist is coming next.
What sets Faut-Narabarhi apart is its powerful narrative structure. The story evolves in unexpected ways, consistently challenging your assumptions, and just when you think you've figured it out, the film throws a curveball. The direction and screenplay are top-notch, with some of the most intense and impactful moments captured on screen.
The cast delivers stellar performances, bringing depth to their characters. The chemistry between them feels authentic, particularly in the way they navigate the tension and uncertainty that surrounds them. The pacing is tight, and the cinematography perfectly complements the dark, mysterious tone of the film.
What I found particularly impressive is the film's ability to evoke emotion while keeping the suspense intact. There are moments of true emotional depth amidst the chaos, which makes the stakes feel real and personal. The sound design and background score add to the overall atmosphere, immersing you in the tense world of Faut-Narabarhi.
In conclusion, Faut-Narabarhi is a thrilling ride that delivers on every promise it makes. Whether you're a fan of suspenseful thrillers or looking for something that keeps you thinking long after the credits roll, this film is definitely worth watching. I can't wait to see where the story goes next!

The coming of age process is different for everyone, and that’s especially true for those of different generations. Those who underwent this rite of passage years ago, however, arguably may have faced more challenges and restrictions than what’s present in these more liberated and open-minded times, and such individuals may be somewhat envious of the privileges that have been afforded their younger counterparts. That’s very much the case with Anila (Kani Kusruti) and her teenage daughter, Mira (Preeti Panigrahi), who has (or at least should have) a comparatively easier time with this than her mother did. Nevertheless, Anila still expects Mira to conform to the rigid standards of her own youth, enrolling her in a strict Himalayan boarding school and hovering around her like an overprotective helicopter parent, particularly when she befriends a young man, Sri (Kesav Binoy Kiron), who becomes a budding – if severely restricted – romantic interest. Despite these constraints, though, Mira is supremely curious to clandestinely explore her emerging sexuality and female drives while at least superficially maintaining the image of propriety expected of a young Indian girl. Matters become further complicated, however, when Anila takes more than a passing supervisory interest in her daughter’s new beau, a dynamic that produces added friction between mother and daughter. As if adolescence weren’t complicated enough in itself, these circumstances raise the tension level inside the family household, in the relationship between the two youngsters and in the mind of someone who’s trying to figure out her life under conditions fraught with confusion, contradiction, constraint and more than a few double standards. Writer-director Shuchi Talati’s debut feature takes a nuanced, mature look at what can often be a baffling time of life, one that’s made even more complex by the potent influences impacting it. The film tends to fizzle somewhat as it approaches its conclusion, almost as if the director doesn’t quite know how to wrap up the story. But that doesn’t hinder the production overall when it comes to covering some previously unexplored fertile ground when it comes to a subject that’s often handled tritely and riddled with clichés. This recipient of two Independent Spirit Awards – for Kusruti’s supporting performance and as a candidate for the competition’s John Cassavetes Award – definitely makes a mark among 2024’s releases, even if, as the premiere offering from a new filmmaker, it could use some shoring up at times. That aside, though, “Girls Will Be Girls” is an impressive start for a promising new auteur, one well worth streaming online. Indeed, through this work, audiences may never view the coming of age process in quite the same way ever again.

I wonder if this isn't quite a good example of being careful what you wish for? Justina Olivo served as housekeeper for her mistress until she died, and was rewarded with ownership of her ramshackle mansion house on the Argentinean Pampa. She is determined to make a go of it, and with her daughter Alexia they try to keep the place running. They have cattle to bring in some cash, but with the humidity and the frequent rainfall the roof is leaking and the building is beginning to reach a point of no return. The remoteness of the location is also taking it's toll on Justina as her daughter starts to feel restless and she has to come to terms with the loneliness this existence delivers. It's perhaps that loneliness that's best portrayed in this rather pace-less documentary. Locked off cameras and telephone imagery illustrate quite effectively just how cut off they are and at how relentless their routine of maintenance is, but after a while that becomes a little soporific to watch. From a practical perspective, though there seems an abundance of electrical power, the plumbing has long since bitten the dust and so her quality of life isn't the best, either. Justina doesn't want to sell it, but even if she did - could she sell up? Would anyone want to buy it? This provides quite an interesting observation for about forty minutes, but once it's made it's point then it does rather repeat itself. That does emphasise her feelings of ennui but it might also induce a certain similar feeling in the audience too.

As a documentary by Netflix is very informative and shows well the passion and project for both of the Chef's Virgilio Martínez Véliz and Pía Léon (of Central, in Peru, the best restaurant of the world) since the beginning of the project to the new project's of his wife and ex sous chef Pía León - they married in 2013 (Kjolle, annex to the Central) and new projects like Mater Initiative that collects true interaction with comunes data and promote local business in the search new ingredients.
From the design of plates and interior to the search of new ingredients, and evolution of the projects and their lives since the beginning.
Not a movie to everyone, but surely a great documentary for everyone that enjoys gastronomy as I do.
Score: 8.5 out of 10.0 / A -

I was fascinated. What a great way to use archival material, and what a nice window into the past. It's very sad that we don't have many images of what Colombia and Bogotá was like in the 20-30-40's, but this definitely fills that empty space in a great way.
There are some stilted sequences, but that doesn't detract from what a great piece of work this is and how well done it is. The story is dramatic, exactly as I wanted it to be and it's gripping. The third act is definitely the best part.

Rewatch confirms…this is a masterpiece. The perspective storytelling, layered messaging, aesthetic choices, sound design, all so delicately and intentionally put together. The art speaks for itself. There are so many backdrop-worthy stills you can take from this; as well as quotes.
Watching this the second time was so much more enriching & satisfying. I took pages of notes that I will try to condense into a concise summary of my interpretation of this film.
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**_**“We’re growing up. We have to work hard to make our dreams come true.”**_**
The idea, that a Cuban trogon will die if it’s caged up or boxed in, as will a human, is a brilliant early strike for the theme of this movie. In relation to artists being put in a box creatively or locked off from certain aspects or levels in their field, it really limits their potential expressive expansion and/or kills their ability to truly succeed at being themselves.
_“Just concentrate on what you can express. Make use of your experience. The rest depends on the audience.”_
The visual language is such an expression of the movies ideas & themes. They’re in a town where it feels like time stands still, and they visualize it with black & white coloring and static shots that linger with little to no camera movement. The cinematography makes you feel caged-in, stuck in time & the town. It feels like it slowly eats away at your ability to move forward in life in any meaningful way. It makes everything we’re watching feel real.
_“The camera is not the problem, the reality is.”_
The camera only moved or zoomed four total times in this film. The first one isn’t until almost an hour into it. We get… 1) a slow zoom onto a bird in a cage, restless & frantic. 2) a slow tilt up from Milagros crying to all her letters hanging from a clothesline to dry above her. 3) slow zoom in to Alex in his seat, watching Edith’s puppet show. and 4) the slow zoom out at the train depot, with all our characters in frame and a train entering the picture.
_”…each seat will have a different point of view. Make sure he’s visible. Don’t just move him for the heck of it.”_ (a nod to the camerawork)
It addressed multiple stages of life through our three main storylines. Fran & the kids represent dreams/goals, finding inspiration, and the hope that truly anything is possible. Alex & Edith (young adult/middle aged couple), represent experiences & expression. Last, there’s Milagros (older generation), who represents dreams & experiences turning into memories, and dealing with the grief of that long-life lived.
_“We’ll build a bridge between our memory, our existence, and the reality of our surroundings.”_
Calling the destroyed movie theater a “celluloid cemetery” was a gut punch.
_“It's impossible for me to shake off the nostalgia, you know? It’s impossible to shake off the memories & things I truly love.”_
There’s so many other throughlines & messages you can take from this film but I’ll leave the rest for future watches.
“Everything needs to change here to remain the same.”

I had the incredible privilege of viewing this documentary with the director and crew on the screening to ask questions. I saw the second official screening of the documentary at the Puerto Rico Film Festival in El Cine Towne Center, Mayagüez (the first screening, which I didn’t have the chance to go, was in the Centro de Bellas Artes de Santurce). It is incredibly well directed, it is humorous in its critique and analysis, it does an incredible job at portraying the absurdity and “papeloneo” of the colonized psyche of the Puerto Rican people. It has a beautiful cinematography, beautiful illustrations, a deep understanding of the Fanonian analysis it is implementing. Man, I brought my mother to watch this and it completely reanimated her revolutionary spirit she had in her youthful university days. That is how moving this documentary is. Every Puerto Rican needs to watch this documentary in their lifetime. It is about time we do some retrospection.

Those familiar with my writing know that I’m not much of a fan of horror films, though I have been somewhat encouraged by the emergence of “smart horror” releases in recent years – scary movies that seek to do more than just try to see how high they can get the body count by film’s end. So I was naturally intrigued by this debut feature by writer-director Michael Kovich Jr. which tells the story of a man (Bruno Sosa Bofinger) who unwittingly finds himself imprisoned in his own apartment, with massive chains covering his front door from the inside. Based on its impressive trailer, the picture suggests that it’s going to provide viewers with more than what they typically expect from such fare, thanks in large part to its stylish production design and gorgeous black-and-white cinematography. Regrettably, however, “The Apartment” doesn’t live up to that potential, mainly because its narrative is wholly predictable. It doesn’t take long to figure out what’s going on here (I called it after about 10 minutes into its 1:27:00 runtime), and that kind of predictability is, for me, the cardinal sin of filmmaking, no matter how elaborately the production may be dressed up. As a consequence, the film limps along with tedious pacing and tiresome redundant sequences, clearly padding a story that ultimately doesn’t have much substance going for it. It also suffers from an excess of scenes featuring graphic depictions of domestic violence, material that could have easily been scaled back without losing any meaningful impact. The bottom line is that this disappointing release represents a missed opportunity to help elevate a genre very much in need of new life. Instead, we’re left with an offering stuck in an old mold, despite an attempt to use upgraded aesthetics to make it more than it is. And there’s nothing frightening in that.

Urban legends have a way of taking on lives of their own. So it was in Chile in the mid-1980s, when a group of ham radio operators intercepted messages from witnesses who claimed to have seen and interacted with a collective of benevolent, highly advanced extraterrestrials (members of a Pleiadian “congregation” known as “Friendship”) on a remote island off the nation’s far southern coast. But where was the definitive proof of this? The radio messages were about the only available “evidence,” and attempts by investigators to visit Friendship Island always fell through. What’s more, as all of this was unfolding, the nation was in the grips of the authoritarian dictatorship of Augusto Pinochet, a ruling junta known for creating an atmosphere of suspicion and paranoia and frequently spreading disinformation. So what was really going on here? That’s what writer-director Cristóbal Valenzuela Berríos has sought to expose in this highly stylized black-and-white documentary about the fabled, enigmatic Friendship incident. Presented very much in the style of cheesy, campy 1950s horror flicks, the film combines audio recordings of the original ham radio messages, interviews with the short-wave operators who intercepted them, expert opinions from contemporary ufologists and re-enactments of the alleged alien encounters, punctuated by clips from 1990s Chilean TV specials about the incident and select scenes from vintage, low-budget creature features for comic enhancement. However, as well as the film integrates these elements, as the story plays out, it loses some of the humorous, stylistic punch with which it opens, becoming somewhat more mundane and drawn out as its theories about what really happened are explained, moving forward in an increasingly plodding, subdued manner. This portion of the narrative also tends to place too much emphasis on some aspects of its explanation while seriously underplaying others, an issue that undercuts the true impact of its revelations. It’s unfortunate that this offering ultimately progresses as it does, especially since it has a good thing going for it at the outset. Regrettably, though, as one of the screenings I most looked forward to at this year’s festival, instead of mesmerizing me, “Alien Island” merely left me modestly amused and somewhat underwhelmed.

If you’re looking for a film about how not to conduct yourself in a gay male relationship, this is it. Writer-director Matías De Leis Correa’s second feature outing is a talky, jumbled mess about the dysfunctional reunion of two long-separated partners (Patricio Arellano, Esteban Recagno) who constantly paw at one another but can’t make up their minds about what they want for the future. In a story that pretentiously deals with the supposed power of love and unrestrained raw emotion, the film ends up being little more than an exercise in circular, often-contradictory discussions about relationships and responsibility as a precursor to soft-core gay male porn. The picture tries hard to pass itself off as a work of poetic, heartfelt romance but is in actuality little more than slickly produced justification for bad behavior. What’s more, the story grows ever more tedious as it unfolds, straining to evoke sympathy from audience members for the selfish expectations and doormat subservience of its two remarkably unlikable protagonists, plot devices that regularly and increasingly prompt sighs and reactions of “Oh, come on already!” While this release admittedly features some fine camera work of the Argentinean landscape, that’s about all it has going for it. This one is easily skipped.

Following a few characters called "Ernesto", this documentary follows what can really only be described as the grooming of young people from eight years old through to an adulthood where crime is the only option. Petty crime at first, drug-running for older people, but the first gun takes ambitions to another level and the commentary delivers a statement along the lines that killing a man is fine because we all get killed one day! This isn't a chaotic existence. The gangs have an hierarchy, a loyalty and an inter-dependency that proves to be solid and supportive if you live within it's rules. It's a sub-culture based on survival, the dream of prosperity and an escape from the drudgery of their largely poverty-stricken existances surrounded by a broader society which they feel offers them little but regulation and inhibition. The narrative illustrates well the prodigious nature of gun-crime in Mexico where life is cheap, but to be honest - I hated the photography. Clearly, anonymity was important but the constant use of phone-cameras with obscured faces or mounted on what looked like a rucksack just made me feel a bit dizzy after a while. There is only so much of the back of an head I wanted to see before I felt that I was riding backie on an undulating bike. The camera always tracking fractionally, and often quite jerkily, behind the body movements. Though that style does add and sustain a sense of intensity to the story, it became quite uncomfortable to watch and I found myself just too distracted. It's certainly a story worth telling, and watching - but as a cinema experience, it's not the most comfortable to watch - on any level.

This "documentary" in this reviewers estimate, takes a one sided look at the ETA as "terrorists". It largely ignores the brutality of the Fascist Spanish regime under Franco and often repressive attitude, towards Basque separatism, displayed by the democratic government of Spain.
Up until Ferdinand Franco's death the Basque people were repressed, as was Spain in general, under his Fascist regime, ushered in, with the aid, of Nazi Germany.
Spain was police state, where people could even be executed, using the cruel and antiquated garrote. Just look at the movie "Salvador", from 2006, to see how violent and generally repulsive, the regime in this nation was, even in the 1970's. The latter day democratic Spanish government has also responded, quite often, with repression and yes, state violence, against Basque attempts at separatism.
Its in this reality that groups like ETA came into being. Rather than balance the books by placing things in a broader context this interview seems to focus largely and narrowly on ETA as "violent". Cut scenes of menacing people in masks with guns and funerals for police officers, backed by ominous music, endorse this limited perspective.
Small wonder, I felt the interviewee start to come across as somewhat evasive. I would be too. The man never really gets a chance to tell his side of the story, in an open and meaningful way.
In summary, a documentary, that, in my opinion, is one side to the extent that it leaves little room for an open and frank discussion about ETA and Basque separatism, in the context of historical and contemporary Spain and its politics. A missed opportunity, to say the least.

_An experiment on movement and afections..._

This starts off quite strongly as we meet the young “Bruno” (Sebastian Rojano) who has a penchant for setting things alight. We are not talking grand conflagrations here, but a few dozen matches inside the box can make for quite a distressing sight for his mother when he’s playing in his room! His home life is a bit complicated as his father has recently died and his mum has a new lover, so he decides that he is going to travel to the city to meet a girl he met on the internet. The thing is, “Dani” (Natalia Quiroz) has not been entirely honest with him about her agenda and that’s just further exacerbated by “Ian” (Ari Lopez) who is the gay best pal of “Bruno” and with whom he has had the occasional dalliance. He’s confused, “Dani” is confused and his mother is concerned that her son is in danger of going off what rails he was ever on. With the story now well poised, it unfortunately rather loses it’s way as the characters struggle to focus on what’s important to them, personally, or to us watching. There’s too much pointless dialogue, implausible decision making and padding and though both Rojano and Quiroz deliver their roles with a degree of poignancy the underlying thrust of the drama becomes a little too tepid. I did like that it doesn’t take a rose-tinted approach to growing up, and that it illustrates quite well the fluidity of sexuality and the pressures to conform from both within and without, but again there is just too little substantial to activate the characters and make them relatable. It’s a good looking production but a little too soporifically scored and that rather sums up a disappointingly flat coming-of-age story that struggles to stand out from the crowd.

Apparently, in Sanskrit the word "Samsara" can mean both wandering and world and is generally used in the context of the reincarnation of a soul from one body to the next. That's what this engaging drama attempts to explore and explain over a couple of hours that contrasts quite remarkably the different approaches to the same end product taken by folks thousands of miles apart. From the monastic existences in Laos to far away Zanzibar, and using completely differing religious conduits, we see just how communities look at death and grief, but not as western cultures would perhaps identify them, but as merely stepping stones from and to somewhere else. Maybe better maybe worse - but certainly new, and not necessarily local, either. It's a simple philosophy that has stood these peoples in good stead over many years of war, oppression, famine and yet they still retain an optimism and an humanity that's positive in a pragmatic as well as a dogmatic manner. It's also quite quirky at times using an hybrid of styles of imagery (beware an hour or so in if you're photosensitive) and some quite enlightening conversation with and amongst ordinary people. At times it's borderline soporific, at others lively and vibrant - but what I found most of all is that it invites people to think. I haven't a religious bone in my body, but this isn't really about religion - or even faith, per se. It's about spirit and a community with our surroundings - and though I think it is too long, it's a film that leaves you with something to think about.

"Lorenzo returns home after a hospitalization process that seems to have left him with amnesia. The mise-en- scène, with its emphasis on reflections, duplicities and blurred focuses, seems to suggest a simple problem of fragmented recollections, of missing memory, of an other that has to reappear. But what is first suggested in a passing dialogue is later confirmed and is a turn from realism to a sort of lo-fi science-fiction. To say more would be to spoil the surprise of a twist that is twofold, in a short film that has the merit of building a world out of suggestion, the scenery of a doctor's office, a small artifact with lights, and a series of glances out the window." Ignacio Balbuena - BAFICI (Buenos Aires International Independent Film Festival)

The slice-of-life drama “Malta” offers a thoughtful exploration of one woman’s journey towards self-discovery amidst the challenges of adulthood. Write / director Natalia Santa’s small but deeply resonant film delves into the complexities and feeling of being stuck in life while searching for a means of escape. It is thoughtful, intimate, and incredibly well done.
Young Columbian woman Mariana (Estefania Piñeres) is navigating the challenges of being an adult. She’s trying to earn a living by working long hours at a call center while balancing the struggles and stress of dealing with her dysfunctional family. Mariana daydreams about escaping her reality by traveling the world, and she especially wants to visit the Mediterranean island of Malta. But when she strikes up a relationship with a classmate, the true motives behind her strong desire to leave it all behind are confronted.
Anyone who has ever felt stuck and unfulfilled with find a lot of material that resonates here, and Santa writes a character that is highly relatable. Boosted by the strong lead performance from Piñeres, the film’s understated tone lends authenticity and depth to this story of self-discovery, quietly exploring Mariana’s internal battles and desires.
“Malta” is a quiet, thoughtful film that captures moments of everyday life, common insecurities and aspirations, as well as the universal quest for meaning and fulfillment.
_By: Louisa Moore / Screen Zealots_

End Times 2023 in an apocalypse who do you trust and survival is the only game in town. A a new movie from The Asylum, known for Sharknado and other classic horror and sci-fi films. The movie is about a post-apocalyptic world filled with zombies, gangs, cannibals, and cults, where a young woman and an old soldier have to team up to survive. The movie stars Jamie Bernadette, Dominique Swain, Jessica Morris, and Craig Stark. It is written and directed by Jim Towns.

"Sir Hugo" (Robert Stephens) is a much respected scientist in Victorian Britain fascinated by motion pictures. Whilst filming his friends punting on the river; they have a calamitous accident and die. What shows up on his photography afterwards intrigues him - it seems as though a mysterious form is taking over their dead bodies. Could this be the "The Asphyx" of ancient Greek myth? He and his son (Robert Powell) decide to try and investigate further with the aim of capturing one in the hope of potentially achieving immortality. It's well put together, the story and script are solid and the lead performances with Jane Lapotaire as "Christina" are quite entertaining to watch. I found it a wee bit long, but give it a go.

_**Original, intelligent Hammer-esque horror from the early 70s**_
In 1875, a squire in England and his adopted son (Robert Stephens & Robert Powell) find a possible means of acquiring immortality by trapping the spirit of death, aka the mythological ‘asphyx’ or what we would call the Grim Reaper. Unfortunately, when people play God unforeseen negative things tend to happen.
"The Asphyx" (1972) is thinking man’s Brit horror in the vein of "The Revenge of Frankenstein" (1958), "Frankenstein Created Woman" (1967) and "Frankenstein Must Be Destroyed "(1969), as well as the soon-to-come “The Creeping Flesh”(1973). It’s the most obscure of these films because it’s arguably the least of ’em, but it does feature one of the most imaginative concepts.
The special effects concerning the captured asphyx are effective and hold up.
Jane Lapotaire as Christina is a unique choice for the lead female. Fiona Walker is also on hand.
Look closely at Robert Powell and you might remember him in the iconic role of “Jesus of Nazareth” from 1977.
The movie runs 1 hour, 23 minutes, but there is a longer U. S. version with about 12 extra minutes, which is inferior because it includes grainy footage from an SD print. The shorter version is the one to go with because the extra material bogs it down IMHO. The flick was shot at Shepperton Studios, just southwest of London.
GRADE: B-

No matter what anyone might say, and regardless of how virtuous its impact may be, extending forgiveness to another is nevertheless often difficult. While it’s true that the benefits to come from it can be considerable, reaching that point generally requires overcoming significant pain, resentment and disappointment. Such is the case for Tarrell (André Holland), a gifted and successful artist whose work is in great demand. However, the profound artistry behind his paintings stems largely from his difficult upbringing, having been raised mostly by his loving mother, Joy (Aunjanue Ellis-Taylor), after she booted Tarrell’s abusive, drug-addicted father, La’Ron (John Earl Jelks), from their home. Despite the departure of the source of that agony, the pain of Tarrell’s existence has lingered ever since, and his painting has served as an important form of de facto therapy. But the roots of his anguish remain, and he has difficulty getting past his past – that is, until his long-absent dad reappears in his life. Trying as it might be, this unexpected reunion presents an opportunity for Tarrell, Joy and La’Ron to work through their ordeal, but are they up to it? That’s what writer-director Titus Kaphar’s debut feature seeks to do, a story drawn in part from his own experience and featuring paintings created by the filmmaker himself. Through this story, the act of forgiveness is explored from myriad angles, unflinchingly depicting the pain and difficulty involved in achieving it. The picture also shows how the impact of such torment can “unwittingly” extend to others, including ostensibly innocent bystanders like Tarrell’s wife, Aisha (Andra Day), who puts her own career as a musician on hold while she attempts to help her husband sort out his issues, a simmering source of strain in their marriage. This is all effectively brought to life through an artistically beautiful, gorgeously photographed production, backed by an emotive and engaging soundtrack. Admittedly, the pacing could use a little shoring up in spots, and the emotional depth that seemingly should have infused the writing for certain scenes doesn’t quite reach the peak that it could have, but those drawbacks are well camouflaged by the fine performances of the ensemble, especially Holland and Ellis-Taylor, who deliver some of the best work of their careers. Most importantly, though, “Exhibiting Forgiveness” is definitely a movie with a powerful message, and it makes no effort to conceal it. It drives home its point with forcefulness and clarity, as well as fearless, unapologetic candor, successfully avoiding the pitfall of sugarcoating, soft peddling or sanitizing how challenging a process extending forgiveness can be. We could all learn a lot from that – and, considering the state of affairs in our world these days, it would behoove us if we did.

Set against a backdrop of a strongly colonial and white Australia, we are rather violently introduced to a young, blonde, Aboriginal lad (Aswan Reid) who is conked out by a boomerang and awakens to find himself in the care of "Sister Eileen" (Cate Blanchett) and "Sister Mum" (Deborah Mailman) at a remote orphanage. She is pretty devout and he is very much in tune with nature - both people of faith, but not the same kind. The arrival of a large wooden crucifix to top their altar seems to focus both of them on what now becomes a rather dry and simplistic tale of spirituality. Reid does come across well. There is a spontaneity and naturalness to his performance, but Blanchett over-eggs just about all of the rest of it. She does this type of role well - shorn hair, manic eyes, slightly eccentric characterisation - but here there's just not enough story for her (or us) to get the teeth into. I got the sense that there was something almost "Oliver Twist" about the lad. Blonde? Sent away? Did he have a secret identity? That's not the story, though - and when he suffers his own rather personal misfortune at the end, I felt a rather overwhelming dislike of "Eileen" and her superstition-ridden church. Too be fair, this isn't a film that doesn't provoke a response - but with sparse dialogue and little character development, it's not really much more than a beautifully photographed vehicle for Blanchett to indulge herself and for Reid to be a boy facing a confusing future.

"... Tom's eventual journey towards something resembling redemption is played a little too straight. One final bad decision to cap off a film full of bad decisions should be laced with dramatic irony, especially since it is a damning indictment of how white men's rage, at any age, is often coddled and protected by those with the most power. It's a stinger that would have been better served on a more preposterously pulpy platter. Instead, the film ends with a limp whimper. What could have been a deliciously dark satire, instead remains in the liminal space known as aggressively average. — [**Source**](https://www.rogerebert.com/reviews/the-girl-in-the-pool-movie-review-2024)
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.. the last time to watch/see Freddie Prinze, Jr. was when he played "Fred" in the cartoon made into film Scooby Doo (2002) .. while his performance and that of Kevin Pollak and Monica Potter is worthy of recognition the plot was just below the average drama-thriller .. as there were some humorous and near comedic moments .. if one has an hour or so to experience psychological twists and turns in a plot of sex (implied), marital infidelity and murder this is for you ..
YorAyl gives it: ★ ★
(out of 4)
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Using a wide array of archive and some fairly honest and potent interviews, this documentary presents us with a short biopic of rather an enigmatic gent. Initially, his dulcet tones earned him a decent enough living doing lucrative commercials and providing backing vocals until a session with David Bowie started his career on a largely unhindered upwards trajectory. His associations with Aretha Franklin, Bette Midler and Roberta Flack, his total - almost perfectionist - commitment to his art and his cheeky sense of humour all contributed further to a success that transcended not just US racial boundaries, but also physical international ones too. I wasn't really that aware of his music, but watching this does effectively illustrate just how many songs he was behind - writing and/or performing, that are more familiar than I'd expected. This also wasn't a messy man. He wasn't in and out of the papers with stories of his life, his lifestyle, his drinking or drug taking - he actually comes across as a remarkably stable man in many ways, even if his solution to problems he faced was to reach for the fried chicken bucket or the ice cream spoon. Happily, we don't really focus too much on the personal life. Perhaps because his own comments of "mind your own **** business" are echoed by the film's contributors who knew him and who chose not to add fuel to any fires burning about his sexuality. It's a celebration of his music that broadens awareness for folk like me who didn't realise the scope of his skills, and it is a fitting and spangly tribute for those who did.

It was wonderful seeing John Cassavetes and wife Gena Rowlands play brother and sister, each with serious sanity issues, in 'Love Streams' (I had only previously seen them together in the stellar 'Opening Night', my favourite Cassavetes film), from a script he co-wrote with the author of the 1980 stage play, Ted Allan (Cassavetes' character, Robert Harmon, was originally played by Jon Voight on stage). While his earliest film, 'Shadows', is least pleasing to me simply because I don't feel his cast there was of the quality necessary to handle that large degree of spontaneity and improvisation, by two decades later, he had refined (and perhaps perfected) his approach, and it's a great day for the two stars as well as stock company mainstay Seymour Cassel, who's always a treat to see. I strongly urge that if you have a sibling you love but currently have problems relating with, to take the time, watch the film with them, and learn something about yourself. This is probably the finest moment of Golan-Globus Films as well...

Humphrey Bogart ("Ed") is superb in this tale of a newspaper editor whose paper is being sold by it's owners. With all looking for their next job, he must try to galvanise his team into an investigation of local mafia kingpin "Rienzi" after one of their number is killed. Occasionally cluttered by a rather clumsy romance (his relationship with soon to be remarried ex-wife "Nora" (Kim Hunter)), this film really focusses on just how newspapers were run in post war USA: gritty, determined and authentic journalism competing with organised crime, personal and family interests (some benign, some less so), corruption and physical danger - all to deliver the daily news to the breakfast tables of millions of New Yorkers. Ethel Barrymore adds some class as the newspaper's proprietress who begins to doubt the wisdom of the sale as she is also drawn into the almost visceral nature of this investigation into a man who uses threats and lawyers to remain one step ahead of the authorities. It packs quite a punch for almost all of it's 90 minutes, and really does show off the star and the writing at their best.

I didn't especially like the truly sterile stage musical and sadly I can't really exude about this either. It all centres around four ladies who win a competition to go and see a Take That reunion concert. The girls have become estranged over the years, but this prize offers them a chance to reunite. Initially it all goes fine - each has gone on to varying degrees of success and happiness in adult life - but after a few largely predictable escapades the fault lines soon start to appear and the inevitable tragedy from their past rears it's ugly head to contextualise their drifting apart and their present, somewhat strained, relationship. The songs themselves were never my favourite either - I always found Gary Barlow's voice to be a bit nasal and toneless - and here they are performed to some extremely precise (and not very natural) choreography by five lads who resemble the original band not a jot. Die hard fans will probably love this, and it does remind you of just how many hits this band had in their relatively short career - but for me, this film was all just a bit too formulaic with an ending that reminded me of the far superior ensemble effort that was Leslie Bricusse's "Scrooge" (1970).

The feisty princess is in love with the slightly geeky "Ronan" but her father is more concerned that her future husband be capable of defending the kingdom and so favours a more robust suitor for his daughter's hand. Maybe that's the local beefcake "Rogdai" (think "Gaston" from "Beauty and the Beast"). Before any of this has to be decided, however, the nasty sorcerer "Kezabor" sends his pet dragon to kidnap her and desperate to retrieve her, the king promises her to her rescuer. "Ronan", "Rogdai" and the rather maternally henpecked "Fa Chan" now set off on some adventures to find the sorcerer's castle and hopefully save the youngster from a fate worse than death. Nope, there's nothing original here but to be fair it isn't trying to hide that fact. There are nods to established folklore ("Rapunzel" chief amongst them) as we encounter loads of mythical beasties and prove that the most valiant is not necessarily the biggest, bravest or boldest. The Arabian Nights style theme works fine for ninety minutes with some colourfully vivid animation - lots of big eyes and out of proportion bodies, and the plot delivers exactly what you might expect. It's a competently produced story that ought to engage the kids on the television at Christmas, but it's all pretty run-of-the-mill stuff that you will soon forget. Nothing wrong with a bit of turban-charged girl power.

It's not that bad. I really appreciate her dedication to her habits. Had to skip some of the yelling.