POMO

Beware of trolls. It’s a nice and fun wait for a wonderful climax that you don’t want to spoil for yourself. It is fun because of the duo of viewers’ favourites who delightfully enjoy every scene and gesture (ultimately, Brad has an even better role than Leo), and it’s nice thanks to the filming environment and nailing the cheerful colours of the carefree sixties in LA. Margot as Sharon Tate is the ultimate blonde angel, a balanced contrast to selected hippie girls from the Manson Family, who conversely are portrayed as the nastiest bunch and treated accordingly (bravo to Quentin for a courageous, fresh breeze of incorrectness in this fucked-up PC-obsessed era). However, in the dialogue and the meaning of individual scenes from the westerns of Rick Dalton (Leo’s character), as well as in the context of the movie as a whole, Tarantino’s creativity appears to be flagging. Like Franco Nero’s cameo in Django, it’s nice to have it there, but in terms of dialogue it was the weakest (or plainly just pointless) scene of the movie. Most of us consider either Basterds or (in my case) Django to be Tarantino’s masterpiece of the past decade. Do not expect Once Upon a Time to be on a par with those. Qualitatively, it is rather The Hateful Eight in an inverse, divinely lightened mood. And with a WONDERFUL climax. [Cannes]

A well-played, solid crime movie with murder and investigation, but without the added value of being connected to an interesting topic or a new creative style of storytelling. [Cannes]

For some, romance means Casablanca or Pretty Woman, and for others it’s this. A seemingly incompatible couple that bonded through S&M. It is interpreted openly, without reserve, but decently, civilly, with both seriousness and humour, and most importantly, it is believable, with a viable psychological background. This is almost unheard of in this rare kind of film. The director did not wish to make a controversial movie about S&M, but rather a humorous human drama about two outsiders coming together in an environment that is unknown or incomprehensible to most viewers. [Cannes]

The Traitor is a nice reconstruction of a great event in Italian history. Its mafia entanglements are a rewarding topic for the audience - lovers of dramas and thrillers will appreciate watching the actors’ various impersonations of mafia bosses. Therefore, it is a pity that it is almost as if the first third of a three-hour film was missing, because we do not know much about the supporting characters who keep appearing. Most of the mobsters whom the main character rats out and whom we later see in court (or elsewhere) are like disposable dummies and neither their personal relationship with Buscetta, nor what they’ve been through together is known to us. Apart from this drawback, which some viewers might not mind, it is a high-quality production with the excellent Pierfrancesco Favino. But personally, I am more drawn toward the fictitious, but more cinematic, atmospheric and dramatic Suburra. [Cannes]

A Hidden Life is a particularly subtle, yet emotionally devastating depiction of the horrors of Hitler’s war, as well as a poetic memorial to a conscientious Austrian farmer whose story is chillingly similar to that of a certain Czechoslovak historical figure (fascism and communism are the same thing, except that one of them took it further). At times, the film might seem needlessly protracted, but eventually it nails all of the ideas and feelings of the story collage. Also, the Austrian Alps have become my main natural summer haven bringing meditative catharsis, so it was easy for me to immerse myself in Malick’s interweaving of life and nature. A beautiful film. [Cannes]

They say that getting a film screened in one of the main sections at Cannes is the most prestigious festival achievement in the world… My ass. Nothing against the concept - revolting against the system and decadent liberation from social conventions are strong topics, and seeing people whipping or urinating on each other on the big screen in Cannes is a sought-after experience. But the mind-numbing elaboration, boring inflation of the runtime with slow and empty scenes of the characters walking in the woods and dumbly looking to the right for a minute and then to the left for another minute, then at each other for a while, then taking two steps to the side and doing it all over again - that’s just pure filmmaking jackassery. [Cannes]

A delicate study of two women brought together by fate who help each other in difficult life situations and change the negative attitude to the circumstances in which they find themselves. One might argue that this premise could have been part of a more complex story with a more interesting plot, but it is so psychologically accurate and so masterly performed that it is able to move viewers without any further adornment. All it needs is for the characters to talk, feel and react to each other. [Cannes]

Though Pain & Glory is a too typically Almodóvar for my taste, his fans would be more appreciative. A retired film director portrayed by Banderas is going through physical suffering while remembering his childhood with his mother Penélope (the most beautiful, poetic part of the film) and meeting people who are important in his later life. The film offers nice colours in the Almodóvar style, autobiographical emotional bits, another interesting role for Antonio, and yet it still left me cold, despite its idea that movies are the nicest thing in life. [Cannes]

Featuring a noir LA cop who at night cleanses the world of the ugliest things, Too Old to Die Young is gloomy, atmospheric and harsh, while fleetingly recalling Lost Highway and 8MM, with titillating revelation of the darkest sexual taboos. It’s not a mini-series, but a seamless 15-hour film, an ultimate Refn work for the curious and callous. No skimming over the pretty surface like in The Neon Demon, but smooth development of disturbing storylines that you want or must witness – if you have the nerve and stomach for it. The fourth and fifth episodes were screened at Cannes with great fanfare. The former introduced the key characters, while the latter sucked the audience into a cinematically absorbing state of ecstasy built on atmosphere, shock and suspense. With unpredictable development and humorous nuances, Too Old uncovers the perversion and wickedness of the world of bad guys, while the audience lusts for bloody revenge. The eccentric Cliff Martinez and the master Khondji of Se7en fame behind the camera. Chilly warehouses, dim bars, dry deserts, LA back alleys. Brightly coloured neon lights. Fascists, Satanists, sadists and rapists. Best of Refn!

Lux Æterna offers a look behind the scenes of a smallish film production where everyone is shouting at each other, not knowing what’s going on and totally losing it. The more famous actors and actresses play themselves. In the film’s climax, Gaspar delivers a more-or-less meaningful closure followed by unforgettable closing credits, but as a whole, it’s horseshit, relying solely on the involvement of famous actors. [Cannes]