NinadeL

The problem with the evaluation of Short Films probably lies in the inconsistency with the idea of retelling the story of the Ten Commandments in the modern sense of the Polish present of the 1980s. Is there anything beneficial in pointing out basic human weaknesses again? Or anything revealing and new? Here again, for example, we illustrate "thou shalt not kill" and that's all we've done.

I would never say that I would rate Eisenstein's film with the word nice, and yet here, everything is nice. A nice and clear medieval setting, a straightforward and unambiguous hero, a clear problem, a nice story in the side storyline even with a female action protagonist... and I could go on and on praising every element of this lovely little play. The music is greatly aided by the editing track, which straightforwardly tells the tale of how evil German knights (with dramatic music) want to conquer Russia (a playful musical motif). Yes, the battle will not be fought without human casualties, but love and goodness will triumph over lies and hatred and be resolved. Why complicate it when it's so nice?

A melancholic remembrance of the greatest of the greatest. What was always great about Vláčil was that he did not belong to the famous class of Otakar Vávra at The Film and TV School of the Academy of Performing Arts, but he came to his craft in his own way through a renaissance combination of knowledge of art and diligence. And he left with honor.

Another episode of the Czech Příběhy slavných series. The elusiveness of Evald Schorm's character, life, and work is hinted at. I really missed Jana Brejchová's memories, and Jan Kačer had to finish the whole thing for her. Everything else is overly routine. I would ideally replace the attempt to gain insight into the soul with more facts at the expense of popular impressionology.

A tasteful little episode, just the way I like it. It is based on Menzel's narration, which relativizes his achievements and explains his nature, his sense of humor, and all the positions of his soul that we as viewers so often suspect when watching his films. The memories of Abrhám, Hanzlík, and Svěrák are charming. Olga is a chapter unto herself.

Lynch matured with this film. After all, it is impossible to consider it an experiment from a filmmaker who could not at the same time master the craft in its classical form and also manage to grapple with the most refined challenge, i.e., pathos.

A pleasant, unlikely romance. And yet it all came about casually while waiting for The Fifth Element from a secondary idea of Nikita. Oh, and by the way, it casually made Portman, which had a nice educational effect on SW fans to educate themselves a bit on European cinema.

Beautiful images, great set design, and clever casting. One of the few films where we can point to the mastery of all the major professions and not lose the resulting experience in academic tedium. The Theme from Proust, the screenplay by Carrière, the cinematography by Nykvist, and directed by Schlöndorff. It would have been enough for the whole thing to fall apart in ambition and empty platitudes, but this way it is tempting to look at, alluringly erotic and yet not banal in its final thought.

It's interesting to follow the journey of a filmmaker who was considered a phenomenon in the 1980s and nowadays no one is too sure whether the trust placed in him was a disappointment or just exaggerated expectations. Be that as it may, it's now a piece of history and the French touch of Besson is not nearly as engaging as it once was. However, in hindsight, it's quite interesting to watch then-star Rosanna Arquette in a very natural role (remember those sassy, unattractive girls of hers?), Jean-Marc Barr (who I otherwise only see in von Trier projects), and Reno, who I never know what to think of (are those poses of his still cool today)?

European film from the Polanski - Emmanuelle Seigner series and again an interesting adaptation. While the poster is eye-catching, it might be worth highlighting something other than just another Johnny Depp creation.