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@namiks
@namiks (77)
1,421 followers
181 following
304d
Movie · on O-Bi, O-Ba: The End of Civilization
'O-Bi, O-Ba: The End of Civilisation' Review: A weird film with a unique dystopian visual style

The 80s and 90s were an odd period for science-fiction disaster films around Eastern Europe. The Cold War was still ongoing and fears of nuclear escalation remained as strong as ever. Many of these films ended up coming from Russia, some of them incredibly unsettling. I assumed I had seen pretty much all of what this genre offered, until I stumbled across this film of a relatively odd title: O-Bi, O-Ba. A Polish film which takes place after a nuclear strike which reduces many to the mountains, into a bunker where the future remains as bleak as ever. Where the damp concrete environment tests the sanity of those who survived the strikes, where above is a land scorched and uninhabitable. And to no surprise: those who remain within the depths of the mountain fall into the fundamental flaws of society. Where politics and anxiety connect.

Now, I haven't seen many Polish films before, I think the total sum can be counted on just one hand, actually. So this was a film that stood out to me not just from the themes, but also the nation it came from. Another which directly saw the fears that arose from the Cold War. The nation still rather connected to its Eastern partner, significantly more so than today's current conditions where it relies heavily on its new western partners. To see a film from the perspective it had back then shows the stark contrast in how much the nation has grown and shifted in its ideology within the past forty years, with the film's release in 1985. Just six years before the collapse the Soviet Union, where between 1989 and 1991 its surrounding nations would also follow in independence, creating an even more uncertain present and future for the region.

Much like the films of similar era and concept, O-Bi, O-Ban carries with the reliance on unique types of film stock and lighting to set the environment. Strong blue tones which show the cold, damp and concrete surroundings that disconnect them from the previous green and colourful world they once knew above. It shows the disarray and decay of the vault that they survive in, where they don't have the ability nor materials to maintain it and prosper as survivors going into the new world. And people within treat each other live savages. This vault being more inhumane than the scorched Earth above. To add, the film loves its used of close up perspectives to show the faces of those within the vault. Many old and weathered. Sometimes the camera moving throughout the rooms to show a dreamy, though rather more nightmarish feeling to it all.

Dystopian beyond this, the film displays the poor tunnels in which people live in rags. Though a speaker playing propaganda above that speaks on how they are the future of humanity. That only they can build and produce the next generation. The disconnect visible with how people hold their heads low to the ground. I liked this aspect of the film, showing the more realistic portrayal of how people would react being confined to damp tunnels and dim lighting. Where there's nothing to do beyond stand around. The whole film really crafted a depressing world. And this is without much mention of the nuclear war that propelled society into this state. If anything, it speaks on how it was always present. That nastiness always lingering around in some way or another. With the class issues that keep people down in poverty while telling them to grow out of it, knowing full well it isn't possible.

Regarding the narrative, it's a bit of a weird one, much like the similar titles of the genre. Though the most impressive thing here is the film's cinematography. The use of atmosphere and lighting was really creative for the type of film it is. In some ways it reminded me of that New Wave Hong Kong style, where there are strong neon lights in the surroundings which become the more dominant colour within the shot. And here it's mostly blues and greens. Cold tones, ones that don't seem comfortable or natural. Some of the perspectives and the way it uses light and silhouettes were really creative, especially with the addition of 35mm film stock. Really showing that dystopian, end of the world feeling. This is definitely not a film for everyone, though. A bit long. A bit experimental. Though certainly visually impressive.
@saacvma
@saacvma (53)
📍 Venezuela
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Músico en proceso y cinéfilo por pasión
304d
Movie · on Materialists
A Decision That May Be Difficult to Make, But the Right Choice Will Be Worth It | Review: Materialists

Well-being Above All Else or True Love?

Director Celine Song undoubtedly set the bar very high with Past Lives, an incredible film that explores themes such as souls destined to be together or to find each other again and, obviously, love. It is a film with incredible shots and dialogues that make you think deeply about your perspective on things, sometimes expressed with very few words. However, this time, although it is a love story, it takes a slightly different approach to her first film. Materialists is Celine Song's new film for 2025, and although it took me by surprise, it was something different.

¿Bienestar Ante Todo o Amor Real?

La directora Celine Song sin duda alguna dejó la vara muy alta con Past lives, una increíble película que trabaja temas como las almas destinadas a estar juntas o reencontrarse y, obviamente, el amor, una película con increíbles tomas, diálogos que hacen pensar mucho sobre la perspectiva de las cosas y a veces expresado con tan pocas palabras pero en esta ocasión viene con, aunque con una historia de amor, un enfoque un tanto distinto al de su primera película. Amores Materialistas es lo nuevo de Celine Song en este año 2025 y aunque se llevaron una sorpresa para mí fue algo diferente.

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As always, I warn you that there will be some spoilers throughout the post. Perhaps not everything will contain spoilers, but I'm warning you anyway so that you're aware and can't say I didn't warn you. As is our motto on this side, the first thing is to know what Amores Materialistas, or Materilists, is about.

The film introduces us to Lucy, a matchmaker whose job is to find people who fit her clients' requirements in order to form couples. In the film, Lucy is forced to choose between material possessions and a life filled with true love. The film does not present an otherworldly plot or anything completely revolutionary, apart from the fact that the director revisits almost the same theme in her second film, only this time with a completely different approach and perspective.

Como siempre, les advierto que tendremos algo de spoilers a lo largo del post, quizás no todo tendrá spoilers pero igual les hago la advertencia para que lo tengan en cuenta y no digan que no se los advertí. Como ya es lema para de este lado, lo primero es saber sobre qué va Amores Materialistas, o Materilists.

La película nos presenta a Lucy, una casamentera, persona cuyo trabajo es encontrar personas que se adapten a los requerimientos de sus clientes para formar parejas. En la película Lucy se verá en la obligación de decidir entre los bienes materiales y una vida con amor real. La película no presenta una trama del otro mundo o algo completamente revolucionario, aparte de que la directora vuelve a trabajar casi el mismo tema en su segunda película, solo que esta vez con un enfoque y perspectiva completamente diferentes.

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Materialists is a film that I saw classified in some places as a romantic comedy, which I don't see as having anything comical about it, or perhaps it's the fact that it's a kind of camouflaged satire on the whole subject of relationships and how a large sector of society currently bases its “arguments” for formalizing a relationship. I'm not going to lie, Materialists made it a little difficult for me to find a theme behind the story because while I was watching it, it was as if I was trying to figure it out but couldn't.

In the world of Materialists, I get the impression that the director wanted to “expose” how relationships are formed today and the “requirements” that are demanded for one person to date another, as if it were a transaction. I add this because the film mentions it and often refers to it in this way. But before continuing with the theme behind the film, I would like to highlight several aspects, as usual.

Amores Materialistas es una película que algunas partes alcancé a ver que la clasificaban como una comedia romántica, lo cual no veo que tenga nada de comedia o quizás sea el hecho de formar como una especie de sátira camuflada para todo este tema de las relaciones y como actualmente un gran sector de la sociedad basa sus “argumentos” para formalizar una relación. No es voy a mentir, Amores Materialistas me la puso un poco complicada para buscar un tema detrás de la historia porque mientras la veía era como si le intentase agarrar la vuelta pero no lo lograba.

En el mundo de Amores Materialistas, me da la impresión de que la directora quiso “exponer” el cómo se forma una relación en la actualidad y los “requisitos” que se piden para una persona pueda salir con otra, como si se estuviera tratando de una transacción y agrego esto justo porque la película lo mencionan y muchas veces lo dicen de esta forma. Pero antes de seguir tratando el tema detrás de la película me gustaría resaltar lo varios aspectos como es de costumbre.

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Visually, Celine Song does a spectacular job, as she did with Past Lives. The cinematographer for both films is the same, and his aesthetic left me so pleased with the director's first film that I asked him to work on this second film. Song's way of presenting scenes where she only frames the protagonists and everything in the background is out of focus simply captivates me, as she manages to give me the feeling that the world does not stop outside that shot. A scene where Lucy is given time off from her job as a matchmaker shows what I just mentioned. It's not that the other girls suddenly come in to celebrate just like that, but rather that in the background you can see how everything is being set up for the celebration a few minutes later.

The actors do a good job, although I was perhaps expecting a little more from their performances. I'm not saying they don't know how to act, because they clearly have years of experience and are professionals at what they do, but at the same time I feel that something was missing, as if they could have given more in the film but held back a little.

Visualmente, Celine Song hace un trabajo espectacular como lo hizo con Past Lives y es que el director de fotografía en ambas películas en el mismo, tiene una estética que me dejó a gusto con el primer filme de la directora y su equipo de trabajo que lo hice haciendo en este segundo filme. La forma que tiene Song de presentar escenas donde solo encuadra a los protagonistas y todo a su fondo esta desenfocado me cautiva simplemente, y es que logra darme esa sensación de que el mundo no se detiene fuera de ese plano. Una escena donde le están dando un tiempo libre a Lucy de su trabajo como casamentera deja ver esto que eles acabo de comentar hace un momento, no es que de un momento a otro entran las demás chicas a celebrar así como así, sino que de fondo se logra apreciar como todo ese montaje se está armando para dar paso a esa celebración unos minutos después.

Los actores por su parte hacen un buen trabajo, aunque a la vez me espere un poco en las interpretaciones quizás, no estoy diciendo que lo son sepan hacer porque claramente son personas que tiene años trabajando en esto y son profesionales en lo que hacen pero, a la vez siento que le faltó algo, como si podrían haber dado más en la película pero se limitaron un poco al hacerlo.

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The film deals with relationships as exquisite quests where you only agree to date someone who meets your requirements and demands, otherwise they are not a good candidate, although often the person who meets all your requirements may not be the right one for you, as we see in Sophie's case. The key point of the film is that it raises the question of a person's value based on what they possess or what they are willing to offer beyond the material, a living example of which are John and Harry.

The film makes you reflect on whether it is right to choose stability in your life in terms of material possessions over true love, both weighed on the scales, but only one will be the winner at the end of the road. Is it better to choose the person who provides material and financial support or to fight for a better life alongside the love of your life? These are the kinds of questions that arise at the end of the film, and I think that the point it wants to make, the real answer, will depend on each individual.

La película trata el tema de las relaciones como búsquedas exquisitas donde solo aceptas salir con quien cumple tus requisitos y exigencias sino no es un buen candidat@, aunque muchas veces puede que esa persona que cumple con todos tus requisitos no sea la indicada para ti, como lo vemos en el caso de Sophie. Punto clave de la película es que plantea el valor que tiene una persona por lo que posee o por lo que está dispuesta a ofrecer más allá de lo material, vivo ejemplo de eso son John y Harry.

La película te hace reflexionar sobre si está bien elegir la estabilidad para tu vida a nivel material y de posesiones sobre el amor verdadero, ambos puestos sobre la balanza, pero solo uno será ganador al final del camino ¿Es mejor elegir a la persona que brinda apoyo material y económico o luchar por un mejor bienestar junto al amor de tu vida? Este tipo de preguntas son las que se generan al terminar la película y creo que el punto al que la misma quiere llegar, la verdadera respuesta ya dependerá de cada quien.

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In general terms, Materialists is not an otherworldly film, but it is entertaining because it presents this perspective on things and generates some debate. It's worth watching with someone else, but beyond that, I would dare to say that Past Lives set the bar very high for the next story dealing with the same subject, even if it takes a different approach. Past Lives is the benchmark to be surpassed in any future project of the same style.

I recommend it if you are curious to see the film, although you wouldn't be missing out on anything particularly relevant. It would be better if you watched it with someone else. As always, I invite you to leave your opinions so that we can exchange ideas about the film and find out what you thought of it. If you have read this far, I would like to thank you for taking the time to read this post. Without further ado, until next time. Thank you very much and best regards to all of you.

En términos generales, Amores Materialistas no es un película de otro mundo, sí es entretenida por el hecho de presentar esta perspectiva de ver la cosas y generar algo de debate y logras verla con alguien más pero más allá de eso me atrevería a decir que Past Lives dejó el listón muy alto para próxima historia tratando el mismo tema así sea que un enfoque distinto, Past Lives es el punto de referencia a superar en un próximo proyecto del mismo estilo.

Se las recomiendo si tienen la curiosidad de ver la película, aunque tampoco se estarían perdiendo de algo exageradamente relevante, les resultaría mejor si la ven en compañía. Como siempre, les invito a dejar sus opiniones para así poder intercambiar ideas sobre el filme y saber que les parecía a ustedes. Si llegaron hasta este punto, me gustaría agradecerles por tomarse el tiempo de leer este post, sin más que agregar, hasta una próxima ocasión. Muchísimas gracias y saludos para ustedes.

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Trailer

Separadores de texto hechos en Canva Portada edita en Photoshop Traductor: DeepL Las fuentes de cada foto las pueden encontrar haciendo click en las mismas
Nicolás
@ydaiznfts2 (67)
📍 Argentina, Buenos Aires.
63 followers
58 following
Futuro psicólogo, acompañante terapéutico en el proceso.
304d
Movie · on El puntero
A review of "El Puntero". When fiction becomes a mirror of politics - [ESP/ENG]

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⚠️ Atencion, posible SPOILER ⚠️

⚠️ Attention, possible SPOILER⚠️

Bienvenidos a un nuevo post para los amantes del cine y de las series, hoy hare una "review" de la serie "El Puntero", una serie argentina lanzada en el 2011 y que hoy día puede llegar a mostrar una realidad que aun duele, y representa una herida que no cicatrizo, les dejo el link de la serie que la encuentran en Prime Video.

Welcome to a new post for movie and TV series lovers. Today I'll be reviewing "El Puntero," an Argentine series released in 2011 that today can show a reality that still hurts and represents a wound that hasn't healed. Here's the link to the series, which you can find on Prime Video.

Source Link Film Prime Video

El Puntero no fue una ficción más de la televisión argentina. Estrenada en 2011 (a 10 años de una de las cosas más duras que pudo pasar la argentina luego de la dictadura) la serie puso sobre la mesa lo que muchos preferían barrer debajo de la alfombra: cómo funciona, en las sombras, la maquinaria política en los barrios. A través de la historia de “El Gitano”, vimos algo que no era solo entretenimiento. Era una radiografía dolorosa de la política clientelar, esa que se mete en la pobreza no para transformarla, sino para administrarla y sacar provecho de la misma. Y lo impactante es que, aunque pasaron más de diez años, la serie sigue teniendo vigencia. Porque los mecanismos que mostró siguen funcionando, incluso con otros nombres, otras caras y otras banderas.

El Puntero wasn't just another Argentine television drama. Premiered in 2011 (10 years after one of the hardest things Argentina could have gone through since the dictatorship), the series brought to light what many preferred to sweep under the rug: how the political machinery in the neighborhoods works, in the shadows. Through the story of "El Gitano," we saw something that wasn't just entertainment. It was a painful snapshot of clientelist politics, the kind that invades poverty not to transform it, but to manage it and profit from it. And the shocking thing is that, even though more than ten years have passed, the series is still relevant. Because the mechanisms it showed continue to operate, even with different names, different faces, and different flags.

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En la ficción, El Gitano aparece como un hombre con poder en el barrio, pero su poder no viene de títulos ni diplomas. Viene del vínculo directo con los vecinos como también con los del poder, de repartir planes, de conseguir remedios, de mover influencias. Es alguien que “resuelve”, aunque sea a costa de reproducir la dependencia para aquellos que no ven el más allá de las situaciones. Sociológicamente, la figura del puntero es clave para entender cómo funciona la política territorial en Argentina. No es solo un personaje turbio: es el engranaje que conecta al Estado con los sectores populares. Sin punteros, muchos no acceden a nada; con ellos, lo que se accede nunca es suficiente. La serie muestra esa contradicción sin romantizar, demostrándonos (sin spoiler) que quien se mete en este "rubro" termina enfermando por querer hacer el bien.

In the fiction, El Gitano appears as a man with power in the neighborhood, but his power doesn't come from titles or diplomas. It comes from direct ties with the neighbors as well as those in power, from distributing plans, obtaining remedies, and using influence. He's someone who "solves problems," even at the cost of reproducing dependency for those who don't see beyond the circumstances. Sociologically, the figure of the "pointer" is key to understanding how territorial politics works in Argentina. He's not just a shady character: he's the link that connects the State with the popular sectors. Without pointers, many people have no access to anything; with them, what is accessed is never enough. The series portrays this contradiction without romanticizing it, showing us (no spoilers) that anyone who gets involved in this "business" ends up getting sick from wanting to do good.

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Desde lo psicológico, la relación entre puntero y vecino es compleja. El vecino pide porque necesita, y el puntero da porque quiere ayudar, pero eso genera o dependencia, o bronca por aquellos que quedan afuera de esa "repartija". El Gitano encarna esa lógica con maestría: no es un monstruo, no es un santo. Es un hombre que entendió que el poder no está solo en los cargos, sino en la administración de la necesidad. Y esa es la parte más perturbadora de la serie: nos muestra que la miseria también puede ser un recurso político, pero no es ninguna novedad.

From a psychological perspective, the relationship between the political boss and the neighbor is complex. The neighbor asks because he needs to, and the political boss gives because he wants to help, but this creates either dependency or anger toward those left out of the "share." El Gitano masterfully embodies this logic: he's not a monster, he's not a saint. He's a man who understood that power lies not only in positions of power, but in the management of need. And that's the most disturbing part of the series: it shows us that poverty can also be a political resource, but it's nothing new.

Uno de los temas centrales es la política del favor. Nada se consigue porque es un derecho: todo se consigue porque alguien lo “bajó”. Un colchón, un medicamento, un plan social, hasta un trabajo en la municipalidad: todo pasa por las manos del puntero. Eso genera un círculo vicioso: los vecinos dependen, el puntero crece, los políticos de arriba se sostienen con este apoyo "vacio de representacion", llamado asi por el pobre conocimiento de la realidad, del fin de cada accion tomada a sus espaldas.. Todos ganan algo, pero nadie se libera. Y la serie tiene la crudeza de mostrar que incluso quienes se benefician terminan atrapados en esa red de favores envenenados.

One of the central themes is the politics of favors. Nothing is achieved because it's a right: everything is achieved because someone "lowered" it. A mattress, a prescription, a social plan, even a job at the municipality: everything goes through the hands of the "panderer." This creates a vicious cycle: residents depend on it, the "panderer" grows, and the politicians at the top are sustained by this "representative vacuum," so called because of the poor understanding of reality and the purpose of every action taken behind their backs. Everyone gains something, but no one is free. And the series has the crudeness to show that even those who benefit end up trapped in this web of poisoned favors.

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El Puntero es ficción, pero cualquiera que haya vivido en Argentina sabe que no está inventando nada. Es un espejo incómodo de cómo la política, en lugar de resolver la desigualdad, la administra para perpetuar el poder. Julio Chávez quien representa al Gitano, con su intensidad, convierte a El Gitano en un personaje inolvidable. Lo odias y lo entendes al mismo tiempo. Y ese es el punto: el puntero no es una caricatura de héroe. Es alguien con carisma, con contradicciones, con una humanidad que incomoda. La serie no se queda en el estereotipo fácil: muestra también el lado emocional, las dudas, los costos personales de ese tipo de vida.

El Puntero is fiction, but anyone who has lived in Argentina knows it isn't inventing anything. It's an uncomfortable reflection of how politics, instead of addressing inequality, manipulates it to perpetuate power. Julio Chávez, who plays the Gypsy, with his intensity, turns El Gitano into an unforgettable character. You hate him and understand him at the same time. And that's the point: El Puntero isn't a caricature of a hero. He's someone with charisma, with contradictions, with a humanity that makes you uncomfortable. The series doesn't stick to easy stereotypes: it also shows the emotional side, the doubts, the personal costs of that kind of life.

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Algo que me llamó la atención desde el principio es cómo la serie muestra la psicología colectiva del barrio. Los vecinos saben que El Gitano no es perfecto, pero creo que de corazón los ayuda para que las cosas cambien, o al menos algunas. Es una forma de resignación: aceptar la dependencia como parte de la vida. Y esa resignación es el terreno donde crece la política clientelar. Desde la sociología, podemos decir que ahí opera lo que Pierre Bourdieu llamaría “violencia simbólica”: una dominación que no necesita fuerza bruta, porque está naturalizada en lo cotidiano. (No diré a que se relaciona en Hive...)

Something that caught my attention from the beginning is how the series portrays the neighborhood's collective psychology. The neighbors know El Gitano isn't perfect, but I think he genuinely helps them change things, or at least some of them. It's a form of resignation: accepting dependency as a part of life. And that resignation is the ground where clientelist politics thrive. From a sociological perspective, we can say that what Pierre Bourdieu would call "symbolic violence" operates there: a domination that doesn't require brute force because it's naturalized in everyday life. (I won't say what it relates to in Hive...)

Today, more than a decade later, watching El Puntero still hurts. Because what it portrays isn't the past, it's the present, thanks to the return of neoliberalism. In many neighborhoods across the country, the figure of the puntero remains key, necessary, and inevitable. The series functions almost like a covert documentary: it exaggerates to dramatize, but never so much that it becomes unrecognizable. What it shows isn't science fiction; it's the daily lives of thousands of families.

Today, more than a decade later, watching El Puntero still hurts. Because what it portrays isn't the past, it's the present, thanks to the return of neoliberalism. In many neighborhoods across the country, the figure of the pointer remains key, necessary, and inevitable. The series functions almost like a covert documentary: it exaggerates to dramatize, but never so much that it becomes unrecognizable. What it shows isn't science fiction; it's the daily lives of thousands of families.

El Puntero nos obliga a mirar de frente lo que muchas veces negamos: que la política, en demasiadas ocasiones, se construye sobre la necesidad de los más vulnerables, de palabras de Evita Perón "Donde hay una necesidad, nace un derecho" y que mientras esa necesidad exista, los punteros seguirán teniendo lugar. Lo interesante es que, al humanizar al personaje, la serie también abre una puerta: la posibilidad de imaginar otra política, una donde los favores no sean la moneda de cambio, donde los derechos no dependan de la voluntad de un intermediario. Como toda buena ficción, El Puntero nos devuelve preguntas más que respuestas. Y la más urgente de todas es: ¿hasta cuándo vamos a aceptar un sistema que necesita de punteros para funcionar?

El Puntero forces us to face what we often deny: that politics, too often, is built on the needs of the most vulnerable, in the words of Evita Perón, "Where there is a need, a right is born," and that as long as that need exists, the "punteros" will continue to exist. What's interesting is that, by humanizing the character, the series also opens a door: the possibility of imagining another kind of politics, one where favors aren't the currency of exchange, where rights don't depend on the will of an intermediary. Like all good fiction, El Puntero raises questions more than it answers. And the most urgent of all is: how long are we going to accept a system that requires "punteros" to function?
Ruthie💥👁️‍🗨️
@seunruth (69)
📍 Nowhere
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Currently lost in the 13th realm {Author of "Darkling heart" and "Golden ache"}
304d
Anime · on Chainsaw Man
Anime Review: Chainsaw Man

Chainsaw Man hit me in a way I didn’t expect. You know how most shonen shows give you that clean-cut hero with this big noble dream? Denji isn’t that. His dream is as raw and human as it gets—he just wants the basics: food, shelter, maybe a touch of affection. It’s so messy and almost pathetic on the surface, but that’s exactly why it gets under your skin. Because haven’t we all, at some point, wanted something so simple it almost feels embarrassing to admit out loud? That part of Denji stuck to me like gum on the sole of a shoe.

And then there is this gut-punch beat the show goes through--one minute you are laughing at Denji being an utter fool, the next minute the show cuts to something so bleak and sorrowful that you feel like your stomach has just dropped. That scene with [spoiler redacted unless you desire not to be spoiled]--I tell you I sat there and watched the screen silent after it was over--not simply because it was a shock, but because it was grief--and you could almost hear the silence in the room after. MAPPA did not pull any punches and you can question yourself why you ever believed that this would be another cool action anime.

But it’s not all bleak. Power—god, Power cracked me up. She is an anarchy with a human face, though also one of the few who provides Denji with something approaching a real relationship. I laughed outright at them because they were ridiculous in their sibling-like bickering. Even these little bits, such as a fight over food or making dumb promises, struck me more than even some of the bloody fight scenes because it was, after all, human. Dishevelled, noisy and oddly gentle.

Even the chainsaws or the gore, what lingers with me more is how the anime puts you in this predicament as you watch it: what does it take to live not to survive? Denji does not speak eloquently of it, he is not a philosopher, but you can feel that desire to live that hunger in him in every decision he makes, every offer he accepts. And it returns that question to yourself.

What I remember most is not even the chainsaws or the gore, it is how the anime makes you sit and ask yourself this question: what does it mean to really live, not just to survive? Denji is not eloquent about it, he is no philosopher and you feel that he has that hunger to live in all his decisions, all his deals. And it has you turn the same question on yourself.

Chainsaw Man was not a clean or comfortable movie to watch, it was jagged, funny, depressing, thrilling, and sometimes all of that at the same time in ten minutes. It was more like viewing an anime than like banging your head against the skull of a child who is desperately trying to find some bits of happiness in a cruel world. And that is why I will never get it out of my head.

Thumbnail is designed by me on pixelLab and other images are screenshot from the movie
Yasleny Perez
@yaslenysofia (71)
📍 Venezuela
174 followers
186 following
Amante de los perros y gatos. Ilustradora. Creativa. Investigadora. Escritora aficionada. Licenciada en Artes Plásticas
304d
Anime · on Hanasakeru Seishōnen
Hanasakeru seishounen – Anime Review (2009) [ENG/ESP]
ENGLISH

Greetings, @theanimerealm community!…

Today I bring you an anime that premiered quite some time ago, but while watching the anime Zutaboro Reijou wa Ane no Moto Konyakusha ni Dekiai sareru, The Prince and His Culture, one of its characters reminded me of the anime Hanasakeru seishounen, and I wanted to revisit this story, which isn't the best, but I found it entertaining, and perhaps you're looking for a related plot.

Hanasakeru seishounen (拾忆长安·明月几时有)…

Released in 2009, under the direction of Chiaki Kon and Hajime Kamegaki, from the Pierrot animation studio, they bring us a 31-episode story, divided into two parts, a shojo full of drama and romance.

As for the plot…

The story centers on the daughter of a powerful industrialist who has the power to move the world. The girl's name is Kajika Louisa Kugami Burnsworth, who, after a tragic incident that occurred when she was a child, is taken to a remote island for her protection, where her only contacts would be a native woman named Maria, who ended up raising her, as well as a white leopard named Mustafa and her childhood friend, Li Ren Fang, who visited her two or three times a year.

After a long time, her father brings her back for a “marriage game,” where she must choose her future husband. To do so, she must meet each of the men he has chosen, without revealing their identities or the time of their meeting, all so that she can determine her own destiny. Among them are Eugene Alexandr De Volkan, whom Kajika nicknames “Mustafa” because of his resemblance to her snow leopard; Prince Rumaty Ivan di Raginei (the Prince of Raginei); and Carl Rosenthal, heir to the Rosenthal estate.

However, what seemed to be a simple game of romance is entangled in a political issue involving the kingdom of Raginei, which will lead her to discover her role in the unfolding events and understand who she truly loves.

Source

Personal opinion

I remember that, at the time, what caught my attention about this story was the character of Rumaty, a dark-skinned man with blue eyes, which I didn't find very common at the time, especially given the culture he represents, somewhere between Arab and Hindu. Anyway, that was the main reason I wanted to see it. I ended up liking the way the girl evolves, because if you analyze it in depth, she lived most of her life away from civilization and how she takes on all this stuff about politics, power, and love, despite the unknown. I feel that her attitude and the way she understood things so well was what I liked about her, understanding love and its different ways of manifesting itself.

I found the plot intriguing, with the game of marriage and endless secrets that make the story dynamic and appealing, as it goes far beyond a shojo, or choosing male suitors, and these same boys go from being simple archetypes to more complex characters with their own stories. Best of all, it has an ending, and a pretty good one at that, I would say, convincing, and the decisions it makes seem to me to be the right ones. I also loved the opening song so much that I listened to it for a long time, and it's what reminds me of what the whole plot is about, to be honest.

The bad thing is the pace. I feel that in order to reach the climax, many things happen that could have been shortened or omitted, as they didn't feel very relevant. Although I liked the evolution of the protagonist, who was frustrating at first, I reflected on why her naivety was bearable, much more so than other protagonists I've seen.

Positive Points…

-It is much more than just a shojo manga; it has a rather intriguing plot.

-Characters far removed from simple archetypes, there is depth to them.

-A good ending.

Negative Points…

-Rhythm element.

-You may not find the animation pleasant.

My rating…

8/10 Story │ 7/10 Animation │ 9/10 Sound │ 7/10 Character Design │ 8/10 Overall

I consider this anime to have a fairly mature plot. It's not just about selecting a prospective husband, but about learning to make decisions about various aspects of life. It talks about maturing and understanding what love, power, destiny, and true wealth are, so if you're looking for a story that goes beyond romance, this is the one you need.

The images were captured from the IMDb website. Cover designed in CANVA. Text translated in DeepL.

Thank you for reading my post. I hope you enjoyed it. I will be happy to respond to your comments. You can visit my blog, follow my content, and follow me on social media.

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ESPAÑOL

Saludos comunidad de @theanimerealm…

Hoy les traigo un anime que se estrenó hace bastante tiempo, pero al estar viendo el anime en emisión Zutaboro Reijou wa Ane no Moto Konyakusha ni Dekiai sareru, el príncipe y su cultura me hizo recordar del anime Hanasakeru seishounen, por uno de sus personajes y quería hacer rememorar esta historia, la cual no es la mejor, pero me resultó entretenida y quizás buscan una trama relacionaba.

Hanasakeru seishounen (拾忆长安·明月几时有)…

Estrenada para el año 2009, bajo la dirección de Chiaki Kon y Hajime Kamegaki, del estudio de animación Pierrot, nos traen una historia 31 episodios, divididos en 2 partes, un shojo lleno de drama y romance.

En cuanto a la trama…

La historia se centra en la hija de un poderoso empresario industrial que tiene el poder de mover el mundo, la chica se llama Kajika Louisa Kugami Burnsworth, quien tras un trágico incidente que ocurre cuando estaba pequeña, es llevada a una isla remota para su protección, donde sus únicos contactos serian una mujer nativa llamada María, la que la terminando criando, además de un leopardo blanco llamado Mustafa y su amigo de la infancia, Li Ren Fang, quien la visitaba dos o tres veces al año.

Tras un largo tiempo, su padre la trae de regreso para un “juego matrimonial”, donde proponer escoger a su futuro esposo, para ello deberá conocer a cada uno de los que él ha escogido, sin revelar ni identidades ni el momento de su encuentro, todo con el fin de que ella consiga su propio destino. En ello, tenemos a Eugene Alexandr De Volkan, quien Kajika lo apoda "Mustafa" por su parecido con su leopardo de las nieves; el Prince Rumaty Ivan di Raginei (El príncipe de Raginei) y a Carl Rosenthal, heredero de la propiedad Rosenthal.

Sin embargo, lo que parecía ser un simple juego de romance, queda envuelta un tema político por parte del reino de Raginei, lo que hará que descubra cual es su papel en los eventos desarrollados y entender a quien ama de verdad.

Fuente

Opinión personal

Recuerdo que, en su momento, me llamó la atención esta historia fue por el personaje de Rumaty, un moreno ojos azules, el cual no lo sentía tan común para ese entonces ese estilo de personaje, más aún por la cultura que muestra, entre árabe e hindu, algo así; en fin, ese fue el motivo principal que me hizo querer verla. Terminó por gustarme el hecho de como la chica evoluciona, pues si se analiza a profundidad, ella vivió gran parte de su vida alejada de la civilización y como toma todo este rollo de la política, el poder y el amor, a pesar de lo desconocido, siento que su actitud y la manera tan bien en que iba entendiendo las cosas, fue lo que me agradó de ella, comprendiendo a su vez el amor y sus diferentes maneras de manifestarse.

La trama se me hizo intrigante, el juego este de matrimonio y todo un sinfín de secretos que vuelven a la historia dinámica y atractiva, ya que es mucho más allá de un shojo, o de escoger pretendientes masculinos, y que estos mismos chicos pasen de ser simples arquetipos, a personajes más complejos y con su propia historia. Lo mejor de todo es que tiene un final y bastante bueno, diría yo, convencible y las decisiones que toma, me parecen que fueron las correctas, aunado que la canción del opening me encantó, tanto que la escuché por un buen tiempo y es la que me hace recordar de que va toda la trama, siendo sincera.

Lo malo es el ritmo, siento que para llegar al clímax pasan muchas cosas que pudieron ser acortadas u omitidas, no se sintieron muy relevantes; aunque me gusté la evolución de la protagonista, si al inicio desesperaba, pero reflexioné el porque su ingenuidad y era soportable, bueno mucho más que otras protagonista que he visto.

Puntos positivos…

-Que es mucho más allá de un shojo, posee una trama bastante intrigante.

-Personajes alejados de simples arquetipos, hay profundidad en los mismos.

-Un buen final.

Puntos negativos…

-Ritmo elemento.

-Puede que la animación no les resulte agradable.

Puntaje que le doy…

8/10 Historia │ 7/10 Animación │ 9/10 Sonido │ 7/10 Diseño de personajes │ 8/10 General

Es un anime que considero que su trama es bastante madura, no es solo seleccionar a un prospecto de esposo, sino que es aprender a decidir en diversas cosas de la vida, habla del madurar y comprender lo que es el amor, el poder, el destino y la verdadera riqueza, así que si busca una historia más allá del romance, esta es la que necesitabas.

Las imágenes fueron capturadas de la página IMDb. Portada diseñada en CANVA. Texto traducido en DeepL.

Gracias por leer mi post. Espero que les haya gustado. Estaré atenta a responder sus comentarios. Pueden visitar mi blog, seguir mis contenidos y redes sociales.

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Carmen Ojeda
@carmen1659 (69)
📍 Valencia Venezuela
57 followers
5 following
Soy una mujer proactiva, me gusta mucho la cocina y sobre todo ver pelÃculas y la costura, poco a poco me voy adaptando a las nuevas tecnologÃas
304d
Anime · on Only Yesterday
Only Yesterday [Review] ESP/ENG

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Imagen editada en Canva

On Sunday, which is usually such a boring day with almost nothing to do, I sat down to watch a movie with my daughters, one that they assured me was very nice, and the truth is that as I got further into the plot, I realized they were right. I even shed a few tears of nostalgia as I remembered my own childhood and youth.

El domingo, que normalmente es un día tan aburrido y casi no hay algo para hacer, me puse a ver una película con mis hijas, una que me aseguraron que era muy bonita, y la verdad es que conforme fui avanzando en la trama me di cuenta que tenían razón, incluso hasta se me escapó alguna lágrima de nostalgia al recordar mi propia infancia y juventud.

The protagonist of this story is a Japanese girl named Taeko, who is already around 30 years old, which is why her family is always questioning her because at her age she has not married yet, so she goes to the countryside to try to organize her ideas and escape a bit from the routine of the city, but throughout the trip and her stay in the countryside, she does not stop remembering her past and her experiences, it even touched my soul and I felt identified because Taeko's childhood takes place in the 60s, just like me 🤗 so even though the film is made under a totally different culture than mine, I can feel identified in certain aspects or social codes that are more universal.

La protagonista de esta historia es una chica japonesa llamada Taeko, que ya roza más o menos los 30 años, razón por la cuál siempre la están cuestionando en su familia porque a su edad aún no se ha casado, así que ella se va al campo para tratar de organizar sus ideas y escapar un poco de la rutina de la ciudad, pero a lo largo de todo el viaje y de su permanencia en el campo, ella no deja de rememorar su pasado y sus experiencias vividas, incluso me llegó al alma y me sentí identificada porque la niñez de Taeko transcurre en la década de los 60, igual que yo 🤗 así que a pesar de que la película está hecha bajo una cultura totalmente diferente a la mía, me puedo sentir identificada en ciertos aspectos o códigos sociales que son más universales.

Fuente

I liked the movie because I feel it was a form of catharsis, sometimes we need to go back in time to understand our present, try to discover from whom we inherited certain codes of behavior or personality traits, try to avoid harmful patterns and things like that, but it also helps us to check how much we have learned in our journey to adulthood and maturity, what you do in the past, your experiences or decisions made defines what you are now, at the same time I think that Taeko's connection with nature and with herself helped her to heal a little any possible wounds, freed her from burdens and stress, accepting that the girl she was can coexist with her adult self, which will allow her to continue moving forward with maturity and happiness.

Me gustó la película porque siento que fue una forma de hacer catarsis, a veces necesitamos regresar al pasado para poder entender nuestro presente, tratar de descubrir de quien heredamos algunos códigos de comportamiento o rasgos de personalidad, tratar de evitar patrones nocivos y cosas así, pero también nos sirve para comprobar cuanto hemos aprendido en nuestro transcurso a la adultez y madurez, lo que haces en el pasado, tus vivencias o decisiones tomadas define lo que eres ahora, al mismo tiempo pienso que esa conexión de Taeko con la naturaleza y consigo misma la ayudó a sanar un poco cualquier posible herida, la liberó de cargas y estrés, aceptando que la niña que fue puede coexistir con su yo adulto, lo que le permitirá seguir avanzando con madurez y felicidad.

Fuente

This movie was for me a roller coaster of emotions, like going back to the trunk of memories, it made me think about my inner child, because I consider that maybe we never stop being children, each stage we live stays with us in a corner of our hearts and spirits, reminding us of who we were, so I couldn't help but feel nostalgic when remembering those afternoons when I went to school, the friends I had, the times my mom chased me out to give me a well-deserved spanking after I did something wrong 😄, or when I climbed trees to pick mangoes 😪

Esta película fue para mi una montaña rusa de emociones, como recurrir al baúl de los recuerdos, me hizo pensar en mi niña interior, porque considero que quizá nunca dejamos de ser niños, cada etapa que vivimos se queda con nosotros en un rincón de nuestros corazones y espíritus, recordándonos quienes fuimos, así que no pude evitar sentir nostalgia al recordar esas tardes cuando iba al colegio, los amigos que tuve, las veces que mi mamá me correteó para darme unos merecidos azotes después de que yo hiciera alguna travesura 😄, o cuando me subía a los árboles para recoger mangos 😪

Fuente

I was also struck by the fact that they addressed the issue of conventions and traditions, and the way they affect people, for example that stupid belief that everyone should get married and have children, it's something nice and natural, yes, but not everyone follows that same goal and that doesn't make them feel bad, everyone is free to get married or not when it's best for them or when life, on its own, leads them to that, there's no point in pressuring anyone because this will only bring frustration and dissatisfaction.

También me llamó la atención que abordaran el tema de los convencionalismos y las tradiciones, y la forma en que estas afectan a las personas, por ejemplo esa estúpida creencia de que todo el mundo debe casarse y tener hijos, es algo lindo y natural, sí, pero no todos siguen ese mismo objetivo y no por ello deben hacerlos sentir mal, cada quién es libre de casarse o no cuando mejor lo disponga o cuando la vida, por si sola lo conduzca a eso, no tiene sentido presionar a nadie porque esto solo logrará traer frustración e insatisfacciones.

Fuente

The final scene was my favorite and brought back the most childhood memories. It was like the point where Taeko embraces and accepts her past so she can move forward in a healthy and happy way. It was a great pleasure for me to see this film, and it confirms that many films have more adult themes that anyone can relate to. Thanks for reading my post. I send you virtual hugs and kisses.

La escena final fue la que más me gustó y me arrancó más recuerdos de infancia, fue como el punto en el que Taeko abraza y acepta su pasado para poder avanzar de forma sana y feliz. Para mi fue un gran placer haber visto esta película y me confirma que muchas de ellas tienen una temática más adulta con la que cualquiera se puede sentir identificado. Gracias por leer mi post, les mando besos y abrazos virtuales 😘 🤗.

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The pics on this post are by my own

Las fotografías de este post son de mi propiedad.
Nathalia ~
@naath (75)
📍 Venezuela
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My life as Nath - Writing about movies-series, make up, books and music.
304d
Movie · on Ingrid Goes West
Film Review: Ingrid Goes West 🎬 | La delgada línea entre admirar a alguien y estar completamente obsesionado. 👀 [ESP-ENG]

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Hola amigos cinéfilos de Movies & Tv, espero que se encuentren muy bien ✨. El día de hoy quiero compartir mi reseña de una película no tan conocida o al menos no que yo recordara, se llama Ingrid Goes West y cuenta una historia bastante real sobre la presión por querer encajar dentro del mundo de las redes sociales y cómo podemos llegar al punto de obsesionarnos con la vida "perfecta" que vemos en otros. Realmente no le tenía fe pero fue una película que me dejó impresionada y con la idea de que no es bueno dejarse llevar por el titulo o la portada de una película. Así que los invito a leer mi reseña de Ingrid Goes West 👀.

Hello Movies & Tv movie buff friends**, I hope you are doing great ✨. Today I want to share my review of a movie not so well known or at least not that I remembered, it's called Ingrid Goes West and it tells a pretty real story about the pressure of wanting to fit in the world of social media and how we can get to the point of obsessing over the "perfect" life we see in others. I didn't really have faith in it but it was a movie that left me impressed and with the idea that it's not good to get carried away by the title or the cover of a movie. So I invite you to read my review of Ingrid Goes West 👀.

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La trama nos cuenta la historia de Ingrid (Aubrey Plaza) una joven que en los primeros minutos de la película muestra una actitud bastante extraña y una obsesión por una vieja amiga, todo esto le genera tantas emociones que al final producto de sus propios impulsos termina en un hospital psiquiatrico donde pasa un tiempo en el que cree realmente que ha mejorado y que podría su vida ser diferente esta vez o tal vez no... Al volver a la vida normal, después de encontrarse en su vieja casa donde vivia con su madre quien falleció producto de haber estado muy enferma, se da cuenta de que en un sobre su mamá le dejo una gran cantidad de dinero, que será usado para su próxima obsesión, al conocer a una joven que le genera el impulso de querer estar cerca de ella o ser ella completamente.

The plot tells the story of Ingrid (Aubrey Plaza) a young woman who in the first minutes of the film shows a very strange attitude and an obsession for an old friend, all this generates so many emotions that in the end product of her own impulses she ends up in a psychiatric hospital where she spends some time where she really believes that she has improved and that her life could be different this time or maybe not. When he returns to normal life, after finding himself in his old house where he lived with his mother who passed away because she had been very sick, he realizes that in an envelope his mother left him a large amount of money, which will be used for his next obsession, when he meets a young woman who generates the impulse to want to be close to her or to be her completely.

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La historia es realmente divertida aunque muy turbia, vemos a Ingrid luchar con sus propios pensamientos y emociones, con las ideas de lo que se proyecta a través de una red social y con su gran deseo de sobresalir o ser vista por primera vez en la vida. Todo el drama se enfoca en su búsqueda por la red social Instagram donde consigue a una joven como ella que resulta más interesante, popular, bonita y con cualidades que ella no cree tener. Entonces comienza la obsesión y empieza a buscar más información de esta joven llamada Taylor Sloane (Elizabeth Olsen) quien muestra una parte de su vida, realmente la parte que se ve más bonita o maravillosa mientras que realmente Ingrid no conoce del todo la historia y la vida de Taylor.

The story is really funny although very murky, we see Ingrid struggle with her own thoughts and emotions, with the ideas of what she projects herself through a social network and with her great desire to stand out or be seen for the first time in life. All the drama focuses on her search through the social network Instagram where she gets a young woman like her who happens to be more interesting, popular, pretty and with qualities she doesn't think she has. Then the obsession begins and she starts looking for more information about this young woman named Taylor Sloane (Elizabeth Olsen) who shows a part of her life, really the part that looks more beautiful or wonderful while really Ingrid doesn't know at all Taylor's story and life.

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La forma en la que desarrollan el drama dentro de las ideas que tiene Ingrid sobre querer tener una vida perfecta es realmente alucinante, te das cuenta de que hay más personas dentro de estas redes que muestran una versión totalmente maquillada de lo que son o lo que hacen con sus vidas. Es algo que se sabe pero que afecta más de lo que se cree, dónde te encuentras incluso pensando que tu vida no es realmente tan valiosa como la de los demás o que no estás viviendo lo suficiente. Ingrid por supuesto tiene problemas psicológicos que la llevan a meterse en un bucle de obsesión que no la deja pensar más allá de su propio deseo de encajar en el mundo.

The way they play out the drama within the ideas Ingrid has about wanting to have a perfect life is really mind boggling, you realize that there are more people within these networks that show a totally made up version of who they are or what they do with their lives. It's something you know but it affects more than you think, where you find yourself even thinking that your life isn't really as valuable as everyone else's or that you're not living enough. Ingrid of course has psychological problems that lead her to get into a loop of obsession that doesn't let her think beyond her own desire to fit into the world.

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La actuación de Aubrey Plaza es simplemente increíble, puedes ver su descenso entre las ideas normales hasta las más desquiciadas con tal de mantener su red de mentiras para acercarse a Taylor y fingir una vida que no le pertenece. Hay escenas intrigantes donde podemos ver el efecto que tienen las redes en los más jóvenes y en aquellos que realmente están buscando información para fingir ser alguien más. Da hasta miedo ver parte de la película por lo real del mensaje que nos muestran y que al final no es más que ver a un ser humano sumergido en un mundo superficial donde va perdiendo la cordura poco a poco. Aubrey lo hizo increíble, nunca había visto ningún trabajo de ella y me encantó su actuación en esta película.

Aubrey Plaza's performance is simply amazing, you can see her descent between normal ideas to the most unhinged ones in order to maintain her network of lies to get closer to Taylor and pretend a life that doesn't belong to her. There are intriguing scenes where we can see the effect the networks have on the younger ones and those who are really looking for information to pretend to be someone else. It's even scary to watch part of the movie because of the real message we are shown and that in the end is nothing more than seeing a human being immersed in a superficial world where he is losing his sanity little by little. Aubrey did amazing, I had never seen any of her work and I loved her performance in this movie.

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Dirigida por Matt Spicer y protagonizada por Aubrey Plaza, Elizabeth Olsen, O’Shea Jackson Jr. entre otros actores, podemos ver una mezcla de humor negro con mucho drama e incluso suspenso, nada de lo que ves realmente lo esperas venir, la película tiene una duración de una hora y media y es más que suficiente para mostrar la realidad del uso de las redes y la falta de salud mental en las personas que hay detrás de una pantalla. Vemos clips donde aparecen publicaciones de Instagram y a la vez la cara de Aubrey Plaza con una total distorsión de lo que es tener una vida normal y querer ser otra persona a costa de lo que sea incluso de su propia estabilidad mental.

Directed by Matt Spicer and starring Aubrey Plaza, Elizabeth Olsen, O'Shea Jackson Jr. among other actors, we can see a mix of black humor with a lot of drama and even suspense, nothing of what you see you really expect to come, the film has a duration of an hour and a half and is more than enough to show the reality of the use of networks and the lack of mental health in people behind a screen. We see clips where Instagram posts appear and at the same time Aubrey Plaza's face with a total distortion of what it is to have a normal life and want to be someone else at the cost of anything even her own mental stability.

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Se que probablemente hay muchas películas de este estilo donde muestran la realidad de el mal uso de las redes sociales o la obsesión por saber la vida de otros a través de ellas, pero está película dentro de todo lo turbio y oscuro que tiene me dejó con la sensación de haber visto una gran película, me gustaron las actualizaciones y la estética de la misma, siento que más personas deberían verla sobre todo si les gustan los actores que aparecen en ella y este tipo de géneros donde la realidad puede llegar a ser muy intrigante y perturbadora, además de que también podemos aprender de la psicología de los personajes y de la trama. Si alguna vez la vieron quisiera que me dejaran un comentario sobre que les pareció está película y si no les sugiero que la vean, está bastante buena la historia 😲👀.

I know there are probably many movies of this style where they show the reality of the misuse of social networks or the obsession to know the lives of others through them, but this movie within all the murky and dark that has left me with the feeling of having seen a great movie, I liked the updates and the aesthetics of it, I feel that more people should see it especially if they like the actors that appear in it and this type of genres where reality can become very intriguing and disturbing, plus we can also learn from the psychology of the characters and the plot. If you ever saw it I would like you to leave me a comment about what you thought about this movie and if not I suggest you to watch it, the story is pretty good 😲👀.

Trailer Oficial

Espero que les gustara este post, también me gustaría que me dejen sus comentarios; con gusto los leeré y responderé. Un abrazo grande. 🤗
I hope you liked this post, and I would also like you to leave me your comments; I will gladly read them and will respond to them. Big hugs. 🤗

_{Todo el texto de esta publicación es de mi autoría - All the text in this publication is my own.
Los banners y el separador de texto fueron editados con la versión gratuita de Canva y PicsArt - The banners and the text separator were edited with the free version of Canva and PicsArt.
La traducción del texto fue realizada con la versión gratuita de Deepl - The translation of the text was made with the free version of Deepl}

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JZA
@jza (67)
📍 El Salvador
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Hive User since 2016, love mostly anime, basketball, hiphop, Linux and Web3. Have a technical background and love coding languages such as C/C++, Python, Go
304d
Anime · on Summer Pockets
Really enjoying Summer Pockets, the latest episode gives you the overall vibe ...
... between the supernatural but the coziness of the show. #anime #manga #japan

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@marabuzal
@marabuzal (71)
209 followers
364 following
304d
Movie · on Casablanca
📽️ Casablanca [ENG-ESP]

Source: IMDb
***
The first time I saw Casablanca wasn't because of a recommendation or out of cinephile curiosity. It was because I was tired. I wanted to see something that didn't scream, that didn't move fast, that didn't try to impress me. I stumbled upon it the way you stumble upon an old song on the radio: without looking for it, but knowing that something there is going to touch you.

Rick appears on screen as if he already knows all is lost. He doesn't smile. He doesn't explain. He doesn't try to be liked. And I liked that. There's something about his demeanor that made me stay. He's not a hero. He's a man who has learned to live with what's left unsaid.

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La primera vez que vi Casablanca no fue por recomendación ni por curiosidad cinéfila. Fue por cansancio. Quería ver algo que no gritara, que no se moviera rápido, que no intentara impresionarme. Me topé con ella como uno se topa con una canción vieja en la radio: sin buscarla, pero sabiendo que algo ahí te va a tocar.

Rick aparece en pantalla como si ya supiera que todo está perdido. No sonríe. No explica. No se esfuerza por caer bien. Y eso me gustó. Hay algo en su forma de estar que me hizo quedarme. No es un héroe. Es un hombre que ha aprendido a vivir con lo que no se dice.

Source: IMDb
***
The Café Americain is a bar, but it's also a refuge. A place where everyone seems to be waiting for something. A visa, news, a song. And Rick is there, in the center, as if waiting for nothing. But when Ilsa enters, the silence changes. There's no dramatic music. No exaggerated gestures. Just a glance. And that weighs more than a dialogue.

Ilsa isn't a femme fatale. She doesn't seduce. She doesn't manipulate. She's trapped. Between duty and desire. Between past and present. And when she hears "As Time Goes By," she remembers. And that memory is felt. She carries it in her gaze.

Casablanca, in its exquisite dramaturgy, takes its time to let you breathe with it. There are no abrupt cuts or scenes seeking impact. Everything is there for you to look at. To feel.

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El Café Americain es un bar pero es también un refugio. Un lugar donde todos parecen estar esperando algo. Un visado, una noticia, una canción. Y Rick está ahí, en el centro, como si no esperara nada. Pero cuando Ilsa entra, el silencio cambia. No hay música dramática. No hay gestos exagerados. Solo una mirada. Y eso pesa más que un diálogo.

Ilsa no es una mujer fatal. No seduce. No manipula. Está atrapada. Entre el deber y el deseo. Entre el pasado y el presente. Y cuando escucha “As Time Goes By”. Recuerda. Y ese recuerdo se siente. Lo lleva en la mirada.

Casablanca, en su exquisita dramaturgia se toma su tiempo para que uno respire con ella. No hay cortes bruscos ni escenas que buscan impacto. Todo está ahí para que uno lo mire. Sienta.

Source: IMDb
***
What strikes me most about Casablanca is that it doesn't try to convince you. It doesn't force you to be moved. It lets you be. And if it touches you, it's because something in you was already waiting for that story. There are no grandiloquent phrases. There are lines spoken as if they were part of a normal conversation, but they stay. "We'll always have Paris" isn't a promise. It's a surrender. And that hurts more than any happy ending.

The war is present, but it doesn't dominate. It's the background. The noise. What forces everyone to decide. And Rick decides. Not out of heroism. Out of love. But not the love that stays. The love that goes so the other can live. And that, in times of war, weighs more than any kiss.

▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬

Lo que más me impacta de Casablanca es que no intenta convencerte. No te empuja a emocionarte. Te deja estar. Y si te toca, es porque algo en ti ya estaba esperando esa historia. No hay frases grandilocuentes. Hay líneas que se dicen como si fueran parte de una conversación cualquiera, pero que se quedan. “Siempre nos quedará París” no es una promesa. Es una rendición. Y eso duele más que cualquier final feliz.

La guerra está presente, pero no domina. Es el fondo. El ruido. Lo que obliga a todos a decidir. Y Rick decide. No por heroísmo. Por amor. Pero no el amor que se queda. El amor que se va para que el otro viva. Y eso, en tiempos de guerra, pesa más que cualquier beso.

Source: IMDb
***
Every character in Casablanca seems to have an untold story. Renault, for example, plays at being corrupt, but there's something in his irony that suggests otherwise. As if he's also waiting for something that never comes. Sam, the pianist, doesn't say much, but he's always there. As if he knows that music is the only thing that can sustain what's broken.
The scene of "La Marseillaise" in the bar is more than a song. Every time I watch it, I feel like I'm there, singing with them, resisting.

Black and white is a wise choice to tell this story. The shadow on Rick's face, the light in Ilsa's eyes, the contrast in every shot. Everything is measured. Nothing is superfluous. And yet, it doesn't feel calculated. It feels vivid.

▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬

Cada personaje de Casablanca parece tener una historia que no se cuenta. Renault, por ejemplo, juega a ser corrupto, pero hay algo en su ironía que sugiere otra cosa. Como si también estuviera esperando algo que no llega. Sam, el pianista, no habla mucho, pero está siempre ahí. Como si supiera que la música es lo único que puede sostener lo que se rompe.

La escena de “La Marseillaise” en el bar es más que una canción. Cada vez que la veo, siento que estoy ahí, cantando con ellos, resistiendo.

El blanco y negro es una elección acertada para contar esta historia. La sombra en el rostro de Rick, la luz en los ojos de Ilsa, el contraste en cada plano. Todo está medido. Nada sobra. Y sin embargo, no se siente calculado. Se siente vívido.

Source: IMDb
***
I don't know how many times I've seen Casablanca. I put it on when I need to remember that cinema can be simple and profound. That it doesn't need effects or twists. Just truth. And this film has it. In its silences, in its farewells, in its last line.
When it ends, I can still hear the piano. Thinking about Paris. I don't know if Casablanca is the best film I've ever seen. But it's one of the few that makes me quiet. It leaves me still. Thinking. Not about what happened, but about what wasn't said. And that, for me, is cinema.

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No sé cuántas veces he visto ya Casablanca. La pongo cuando necesito recordar que el cine puede ser simple y profundo. Que no hace falta efectos ni giros. Solo verdad. Y esta película la tiene. En sus silencios, en sus despedidas, en su última línea.

Cuando termina, sigo oyendo el piano. Pensando en París. No sé si Casablanca es la mejor película que he visto. Pero es una de las pocas que me hace callar. Me deja quieto. Pensando. No en lo que pasó, sino en lo que no se dijo. Y eso, para mí, es cine.

🌱 _{© Copyright 2025 Argenis Osorio. Todos los derechos reservados/© Copyright 2025 Argenis Osorio. All rights reserved}

🌱 _{Mi idioma nativo es el español, traduzco al inglés con Google Translation /My native language is Spanish, I translate to English with Google Translation}

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Equipodelta
@equipodelta (80)
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1,000 following
Curator. Witness Hive DIY, Founder Hive DIY community. El mundo es suficientemente grande y provechoso para aquellos que desean vivir en armonía.
304d
Movie · on The English Teacher
The English Teacher (Review) No hay maestro aprendido / Miss Sinclair (There is no learned master) (Esp/Eng)

..."La soledad puedes llevarnos a lugares y momentos demasiado superficiales y peligrosos que ponen en riesgo nuestra reputación"...

"Loneliness can lead us to places and moments that are too shallow and dangerous and put our reputation at risk."...

[Esp]

¡Saludos queridos cinéfilos!

The English Teacher o Miss Sinclair es una película estrenada en el 2013, hice clic por sus características sobre salientes: Primero la portada muestra a Julianne Moore de la cual soy muy fan, a simple vista me pareció una película romántica, comedia, con algo de Drama sin llegar a caer en una lloradera como siempre. Sin embargo conociendo el estilo de película que frecuenta aparecer Julianne, tampoco creo nos arranque un par de carcajadas.

Contaré mi experiencia de humano mortal común viendo la película, por supuesto sin spoilers. Si ya la viste, estaré encantada compartas conmigo tu experiencia a ver si es que estoy muy equivocada o si di en el clavo.

English version

Greetings dear cinephiles! The English Teacher or Miss Sinclair is a movie released in 2013, I clicked for its over salient features: First the cover shows Julianne Moore of which I am a big fan, at first glance it seemed to me a romantic movie, comedy, with some Drama without falling into a tearjerker as usual. However, knowing the style of film that Julianne often appears in, I don't think it will make us laugh a couple of times. I will relate my experience as an ordinary mortal human watching the movie, without spoilers of course. If you've already seen it, I'll be happy to share your experience with me to see if I'm wrong or if I hit the nail on the head.

[Esp]

Tal vez podamos sacar unas moralejas de la película después de todo dado a la calificación personal que le puse 3/5... Es que tuve mis decepciones en algunas cosas...

No fui yo nada más que tiene algunas molestias con la película, las críticas de muchos usuarios es negativa, resumiendo según ellos: nada divertida, sosa, mucho cliché y en lo único que coincidimos es que, no estamos acostumbrados a ver a Julianne Moore en estos papeles donde prácticamente ella es un cero a la izquierda e inteligentemente torpe.

Conozco a Julianne de su trayectoria como hacer películas LGTB, de las cuales han sido estupenda su actuación, por decir fantástica y brillante, de hecho en una que vi hace poco ella hizo su aparición con una chica y fue algo super corto en la película pero, fue igual de estupenda. Hoy la conocí en una faceta muy femenina, diría que bellísima, delicada, elegante, frágil que también le siente bien, sin embargo, me gusta más su estilo rockero y maliciosa.

English version

Maybe we can draw some morals from the movie after all given the personal rating I gave it 3/5.... It's just that I had my disappointments in some things... It wasn't just me that has some annoyances with the movie, the reviews from many users is negative, summarizing according to them: not funny at all, bland, a lot of cliché and the only thing we agree on is that, we are not used to see Julianne Moore in these roles where she is practically a zero to the left and intelligently clumsy. I know Julianne from her background as doing LGTB movies, of which her acting has been terrific, to say fantastic and brilliant, in fact in one I saw recently she made her appearance with a girl and it was something super short in the movie but, it was just as terrific. Today I met her in a very feminine side, I would say beautiful, delicate, elegant, fragile which also suits her, however, I like her rocker and mischievous style more.

[Esp]

Si, me perdí un poco en el guión porque me parecía algo aburrido, sin embargo hubo un momento de captar mi atención dado a que , la profesora Sinclair, es alguien muy respetable, una soltera de más de 40 que buscaba compañía e iba a citas para conocer posibles parejas, donde todos ella les colocaba sus etiquetas negativas para descartarlos (le doy la razón), sin embargo logra enrollarse con uno de sus estudiantes, el cual terminó abochornándola más adelante junto a toda la universidad, le costó su puesto de trabajo y su reputación. Ella continuó con su corazón partido y solitario pero quizá no por mucho tiempo.

En la película hay un vacío muy grande al final porque no es claro, lo dejan a la interpretación con respecto Sinclair y el padre del universitario que la abochornó.

Esto es bastante triste... Por eso siempre digo: Cada oveja con su pareja, mucha diferencia de edad, no puede ser tan compatible.

¿Crisis de los 40-50? Qué bueno que a mí aun no me ha pasado y espero no me suceda. Pero sí fue terrible de verdad, todo lo que pudo sacrificar y aun así podemos ver en la película que sigue siendo buena.

Acerca de la fotografía, es buena, está grabada en estudios y ambiente exterior muy bonito. Pero sí el guión es algo soso por ello mi calificación.

Como moraleja a mis 50 años... prefiero seguir soltera y sin inventos...

¡Jajajaja! Nos vemos en mi siguiente post, cuéntame tu experiencia.

English version

Yes, I got a little lost in the script because it seemed a little boring, however there was a moment of capturing my attention given that, Professor Sinclair, is someone very respectable, a single woman over 40 who was looking for company and went on dates to meet potential partners, where she all placed her negative labels on them to discard them (I give her the reason), however she manages to hook up with one of her students, which ended up embarrassing her later along with the entire university, cost her her job and her reputation. She continued to be heartbroken and lonely but perhaps not for long. In the film there is a very big gap at the end because it is not clear, it is left to interpretation regarding Sinclair and the father of the college student who embarrassed her. This is quite sad... That's why I always say: every sheep with its mate, too much age difference, can't be that compatible. 40-50's crisis? Good thing it hasn't happened to me yet and I hope it doesn't happen to me. But yes it was really terrible, everything she could sacrifice and yet we can see in the movie that it's still good. About the photography, it is good, it is filmed in studios and very nice outdoor environment. But yes the script is a bit bland that's why my rating. As a moral to my 50 years ... I prefer to remain single and without inventions .... Hahahaha! See you in my next post, tell me your experience.

Trailer

# Créditos / Credits

Estreno: 2013

Reparto:

Julianne Moore, Michael Angarano, Greg Kinnear, Lily Collins, Nathan Lane.

Género: Comedia / Romance

Sources

Translated by www.deepl.com/

Canva Editions

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👉 👉 👉 👉 Here / Bríndame un café
Drax
@drax (77)
893 followers
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Blogger, film critic, columnist (writes in Croatian and English)
304d
TV · on The Wire
Television Review: Ebb Tide (The Wire, S2X01, 2003)

Ebbd Tide (S02E01)

Airdate: June 1st 2003

Written by: David Simon Directed by: Ed Bianchi

Running Time: 59 minutes

The true genius of David Simon, particularly when granted the relative creative liberty afforded by cable television and HBO’s commitment to high-calibre drama, lies not merely in his ability to craft compelling narratives, but in his audacious capacity to dismantle the very foundations of his previous work and rebuild something profoundly new, grander, and more thematically resonant upon its rubble. The Wire, universally acclaimed as his magnum opus, functions in many respects as a spiritual sequel or a radical reimagining of his earlier, tragically underrated masterpiece, Homicide: Life on the Street. While the nominal protagonist, Jimmy McNulty, remains a Baltimore Homicide detective, and the inaugural season ostensibly commenced with a murder investigation, its revolutionary scope swiftly expanded beyond the procedural confines. Season 1 offered an unflinching, authentic, and deeply empathetic portrayal of the city’s drug trade – the engine driving its grim body count – crucially, not through the lens of law enforcement, but from the intricate, often brutal perspective of those ensnared within it. Season 2, heralded by the premiere Ebb Tide, executes an even bolder conceptual leap. It deliberately pivots away from the corner and the projects, plunging the audience into the broader, sadder tapestry of urban decay, exploring the socioeconomic currents that shape the city’s reality through activities which, at first glance, appear startlingly disconnected from the street-level violence that defined the first season. This is not a retreat from crime; it is an excavation of its deeper, systemic roots.

In Ebb Tide, those roots are inextricably bound to the economic bedrock of Baltimore itself: the Port of Baltimore. Far more than just a scenic waterfront, the Port represented America’s largest facility for specialised cargo, a vital artery pumping both prosperity and peril into the city and the nation. Its imposing presence, dominated by the Francis Scott Key Bridge – now tragically memorialised by its catastrophic collapse in March 2024 – and the endless, intimidating rows of colossal container ships, forms the season’s essential backdrop. It is within this labyrinthine world of cranes, shipping manifests, and international logistics that the season’s plot is irrevocably triggered. The sheer scale of the operation, involving millions of containers annually, creates a near-perfect environment for illicit activity to flourish unseen, a fact central to the narrative’s tension. The Port isn’t just a setting; it is the season’s central character, its rhythms dictating the lives of those who work there and its vulnerabilities exploited by those operating in the shadows.

Overseeing this critical domain, at least within the unionised workforce, is Francis "Frank" Sobotka, treasurer of the International Brotherhood of Stevedores, portrayed with gruff, heartbreaking humanity by Chris Bauer. Sobotka is the affable, deeply respected patriarch of the local Polish-American dockworker community, a man whose primary motivation is the preservation of decent livelihoods for his fellow labourers. Yet, he operates against a crushing tide of technological obsolescence and shifting global economic winds, which have drastically diminished the demand for the very physical labour his union represents. This desperate struggle for survival, for the dignity of work his father and grandfather knew, pushes Sobotka and key union members – notably his volatile, self-destructive son Chester "Ziggy" (Robert Ransone) and his more pragmatic nephew Nick (Pablo Schreiber) – into perilous alliances. They engage in increasingly shady dealings with unsavoury figures like the enigmatic, unnervingly calm "Greek" (Bill Raymond) and his lieutenant Spiros Vondas (Paul Ben-Victor), whose operations involve massive-scale theft and smuggling. The Port’s vastness provides the perfect camouflage; detecting missing containers amidst the ocean of steel is akin to finding a needle in a haystack, making the illicit trade both lucrative and maddeningly difficult to police.

This pervasive economic anxiety, the slow suffocation of the working class, is not a novel phenomenon in Baltimore, a truth underscored with devastating economy in the season’s very opening scene. Transferred from Homicide to the demeaning Marine Unit, McNulty endures the physically gruelling and humiliating task of patrolling the harbour in a small boat alongside his new partner, Claude Diggins (Jeffrey Fugitt). Their conversation, laced with weary resignation, immediately establishes the historical context: both recount how their fathers lost jobs at the local steel mill during the devastating layoffs of the 1970s. This brief exchange is masterful exposition, grounding the contemporary struggles in decades of deindustrialisation. The irony deepens moments later when they encounter a stranded yacht belonging to the city’s elite. The wealthy owners brazenly bribe the officers for a discreet tow to salvage their party, a microcosm of the systemic inequality where the privileged effortlessly circumvent rules that bind the working class. This scene is vintage Simon – a small, seemingly incidental moment loaded with profound, unspoken social commentary about the chasm between Baltimore’s haves and have-nots.

McNulty, however, remains fundamentally incapable of shedding his identity as a dogged homicide investigator, even adrift in the Marine Unit. When he and Diggins recover the body of a young woman from the harbour, the initial response from Detective Cole (Robert F. Colesberry) is dismissive, suggesting suicide. When evidence hints at foul play, jurisdictional buck-passing ensues; Cole insists the body, found east of the Key Bridge, falls under Baltimore County’s purview, not the City’s. McNulty, sensing violence and driven by an almost pathological need to solve, meticulously researches tidal patterns and currents. His painstaking work proves the body was dumped within Baltimore City limits, forcing the case back onto the Homicide Unit. The consequence? Colonel William Rawls, McNulty’s former nemesis now promoted, fumes at the prospect of having to investigate a case he deems unsolvable and politically toxic – a perfect encapsulation of institutional inertia and self-preservation trumping justice.

The case’s complexity escalates dramatically towards the episode’s climax. Sobotka, pressured by the Greek to move a stolen container out of Baltimore, finds the handover going catastrophically wrong. The Greek’s enforcer, Sergei Malatov (Chris Ashworth), abandons the container mid-transfer, forcing Sobotka to stash it illicitly among the thousands of others. By sheer, cruel chance, Maryland Port Authority officer Beatrice "Beadie" Russell (Amy Ryan) stumbles upon the container. Noticing the broken US Customs seals, her professional diligence compels her to investigate further. What she discovers within is a horror beyond comprehension: the decomposing bodies of numerous young women, victims of suffocation during a brutal human smuggling operation. This grim revelation instantly transforms a local missing persons case into a major international incident, triggering a massive, multi-agency law enforcement response descending upon the Port – the "ebb tide" of the title giving way to a relentless, chaotic flood of investigation.

Simon’s script for Ebb Tide is undeniably rich and layered, laying the intricate groundwork for Season 2’s sprawling narrative. However, this necessary expansion of scope inevitably results in a noticeably slower, more deliberate pace compared to the propulsive, street-level intensity of the Season 1 premiere. This is partly attributable to the essential "where are they now" segments, which reintroduce characters from both sides of the law. We see the fractured remnants of the Barksdale Organisation: Avon incarcerated, Stringer Bell smoothly consolidating power and grooming the street-smart Bodie for a higher role. Lieutenant Daniels’ once-promising detail has been systematically dismantled, its members exiled to bureaucratic purgatory – Daniels himself relegated to managing the evidence room, Kima Greggs contemplating artificial insemination after her near-fatal shooting. This pervasive sense of institutional punishment and stasis, of careers derailed and potential squandered, is crucial to the season’s thesis but undeniably tempers the narrative urgency.

Simon further broadens the show’s canvas by painting a far more complex and diverse portrait of Baltimore. While Season 1’s necessary focus centred on the city’s majority African-American communities grappling with the drug trade, Ebb Tide introduces the largely Polish-American world of the docks. This cultural shift is vividly illustrated through the petty, yet revealing, rivalry between Major Stan Valchek (Al Brown) and Frank Sobotka. Their feud, ostensibly over which institution – the Police Department or the Stevedores' Union – will secure the larger donation for a stained-glass window in Father Lewandowski’s church, is a microcosm of Simon’s genius. It demonstrates how institutional ego, territoriality, and the quest for status permeate all facets of Baltimore life, irrespective of race or specific industry.

Ebb Tide is not, however, without its minor flaws, though the most notable one is likely invisible to most viewers. Simon’s relentless pursuit of authenticity, a hallmark of The Wire, stumbles slightly in the opening credits sequence. The montage features passports and documents supposedly used by trafficked women. For viewers familiar with Eastern Europe, several of the insignia and country names depicted are glaringly inaccurate or nonsensical. While a trivial detail in the grand scheme of most television, this lapse feels jarringly out of place in a series that prided itself on forensic attention to detail, where a single incorrect police procedure or union regulation would have been meticulously avoided. It stands as the sole, almost invisible crack in the show’s otherwise impenetrable armour of realism – a minor blemish on an otherwise monumental achievement.

Ultimately, Ebb Tide is a masterclass in ambitious storytelling. It dares to shift the entire axis of The Wire away from the familiar, demanding the audience adjust its perspective to see the city whole. By anchoring the season’s tragedy in the economic devastation of the working class, embodied by the tragically compromised Frank Sobotka, Simon achieves something extraordinary. He demonstrates that the violence on the corners is not an isolated pathology, but the inevitable, bloody effluent of a system failing its people at every level – from the globalised shipping lanes to the hollowed-out steel mills. The episode’s slower pace is not a weakness, but the necessary tempo of deep excavation. It trades the adrenaline of the chase for the profound dread of systemic collapse, proving that David Simon’s vision, when given the space to breathe, could make the mundane machinery of urban decay as compelling, as morally complex, and as utterly devastating as any murder on the corner. It is the moment The Wire ceased being merely a great police drama and revealed itself as nothing less than an epic, unflinching sociology of the American city.

RATING: 7/10 (+++)

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If its on Tv I'll write about it || If its on Tv they already doing it
304d
TV · on Foundation
Foundation: Shadows in the Math - S03E02 - RECAP
[Source](https://screenrant.com) I just put a few hours on Foundation yesterday during a family reunion, after I hang out with everyone else decided to take my tablet and catch up from episode 6 to 9 so now Im all catch up on Season 3 but still want to post for this entire season, withouth yet watching Season 1 and 2 I really start to love this series and Episode 2 does served up another dose of mind bending sci fi drama titled "Shadows in the Math" really kept me interested even though some parts felt a bit draggy at times but the entire series is like that. The whole time jumping aspect continues to be both fascinating and occasionally confusing, we get this massive 152 year gap that lacks a ton of context that I wish they would slow down and let us breathe with these characters a bit more with multiple storylines without making me feel completely lost, though I have to admit there were moments where I had to rewind because I missed something crucial. The visual effects continue to be absolutely stunning, those shots of the different planets and the space sequences are just gorgeous to look at, its the kind of eye candy that makes you forget about any plot holes for a minute. Brother Dusk's storyline really picked up steam here and I found myself actually caring about his desperation to stay alive, which is saying something because usually these Cleon brothers can be a bit too similar for my taste but this episode gave him some real personality. The whole black hole weapon thing was terrifying and exciting at the same time, its like watching someone build the ultimate doomsday device while knowing it will probably backfire spectacularly later on.
- IMDB: https://www.imdb.com/title/tt0804484/
- Platform: AppleTV+
Rottentomatoes Rating
[Source](https://tinyurl.com/329tjtuu)
Gaal's awakening sequence after being in cryo sleep for so long felt very sci fi and mistical, between her confusion and anger at Harry for keeping her under longer than promised felt very human human from her and gives that touch to the series not feel so unreal. Seeing Harry age to the point of being on his deathbed was sad, especially after we have watched him manipulate events from behind the scenes for so long. The relationship between these two characters has always been one of the strongest parts of the season and I guess it has been building up from Season 1. Within that character build there is and overall Mentalics evolution during Gaal's absence, they are no longer this religious group but have become something more like spies spread across the galaxy. The whole Second Foundation concept is starting to make more sense now, though I still think they could explain some of these psychohistory elements better since at times feels just too advance and lack context but probably this is me missing two seasons. Harry been gone through that mysterious portal was both kinda frustrating and somewhat satisfying too, satisfying because it felt like a proper goodbye but frustrating because I want to know more about where he went and what that means for future episodes. The scenes between Gaal and the new First Speaker Palver were touching, especially when they were laughing together over the statue situation, it showed a lighter side to these heavy storylines and its sadness.
[Source](https://tinyurl.com/329tjtuu) [Source](https://tinyurl.com/329tjtuu)
Brother Dawn's secret communication with Gaal at the end was probably my favorite moment of the entire episode, but this was the begining of something way bigger for the Foundation and the Empire, I really thought she care for him but was just another pawn. The political maneuvering on Trantor continues to take some action although is not the focus, watching these three brothers deal with their different approaches to the impending crisis shows just how complex this empire really is. Brother Day's gambling scenes felt a bit unnecessary to me, like they were trying too hard to show us his rektless attitude when we already got that from his previous scenes. The whole nanite technology thing they mentioned become very important later, its one of those details that seems small now but will probably pay off in future episodes. Demerzel's role as this unchanging force watching over the dynasty becomes more interesting when you consider that she might outlive all of them, her conversations with the brothers have this underlying tension that I really pick up like someone ows something but until this episode I didnt know if it was Empire who took something from Demerzel, in a way Demerzel best friend could be time as its both a weapon and a limitation, everyone is running out of time in different ways and it creates this sense of urgency throughout the episode.
[Source](https://tinyurl.com/329tjtuu) [Source](https://tinyurl.com/329tjtuu)
The Mule's demonstration with Skirlet and the gun was absolutely chilling, even though I knew he would not actually kill her, the tension was unbearable, killing kids is never good for media anyway. His ability to control minds while still wanting genuine love and loyalty creates this contradiction that makes him more than just your typical villain, the Mule is a geniues as enslaving people through love "love they never felt before". The way he talks about wanting everyone to love him reveals something deeper about his character, maybe some childhood trauma or rejection that drives his need and ability to control others. Torren and Beta Malow's introduction as these rich influencer types was both annoying and necessary, they represent this privileged class that has been ignoring the larger problems in the galaxy plus been influencers resonates with todays world so that was clever. Their work with Han Pritcher develops a very interesting infiltration plan, though I hope they develop these characters beyond just being spoiled brats. The whole party invitation angle gives them a way to get close to the Mule without it feeling too convenient but eventually what worries me is how easily the Mule could turn this party into a mass conversion event is what I though at the moment, using his powers to create an army of loyal followers all at once something I keep asking why he doesnt turn everyone he lays eyes on??.

Until this episode I had some friction opinion about the pacing and character development, some storylines moved forward nicely while others felt like they were either dragging or missing too much context like Priest for example. The production quality continue to be what keeps this series going hard, every planet feels distinct and the costumes are just ridiculous in the best possible way, Demerzel's outfits alone are worth watching. Brother Dusk's planet killer weapon reminds me Nidavellir from the MCU where Stormbraker was made powered by a small star, its also another threat that could end civilization and it made me curious to see how they will all come together, how Dusk is going to use it against the Mule. This episode is full of future conflicts without resolving too much so keeping the tension high, eventually the Vault opening day is key too, which keeps you wanting more but also leaves you feeling a bit unsatisfied but still wanting more. Harry's warnings about what comes after the Mule's defeat suggest there are even bigger threats lurking but how it can be bigger or worst than the Mule taking over or Dusk using his new weapon. Gaal's position as the leader of the Second Foundation puts a lot of pressure on her character and I hope they give her enough screen time so she does not become just another overwhelmed hero trying to save everyone without much development now that she is really out there looking for the Mule. The alliance between the Foundation and Empire could be exactly what both sides need to survive but it also creates new problems about who can be trusted. I would give this episode a solid 7 out of 10, it is not perfect but it sets up some exciting developments for the rest of the season that Im sure most viewers end up enjoying, at least I did so much I couldnt wait to catch up the rest of the episodes.

#skiptvads, #inleo, #hive, #foundation, #scifi, #television, #appletv, #review, #gail, #harry, #seldon, #brothers, #cleon, #empire, #mule, #dusk, #dawn, #demerzel, #psychohistory, #mentalics, #trantor, #weapon, #blackhole, #alliance, #cryo, #speaker, #crisis, #galaxy

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Hanasakeru seishounen (拾忆长安·明月几时有)…

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Hanasakeru seishounen (拾忆长安·明月几时有)…

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Source: IMDb

Source: IMDb

Source: IMDb

Source: IMDb

Source: IMDb

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