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Drax
@drax (77)
894 followers
107 following
Blogger, film critic, columnist (writes in Croatian and English)
64d
TV · on Game of Thrones 80
Television Review: Battle of the Bastards (Game of Thrones, S6X09, 2016)

Battle of the Bastards (S6x09)

Airdate: 19 June 2016

Written by: David Benioff & D. B. Weiss Directed by: Miguel Sapochnik

Running Time: 60 minutes

From its inception, Game of Thrones demonstrated that its creators possessed a formidable understanding of how to captivate an audience through a variety of means—political intrigue, shocking betrayals, and visceral drama. Yet, none of these methods proved as consistently and overwhelmingly impressive as the show’s large-scale battle sequences. These episodes offered an incredibly potent alchemy of action, human drama, and sheer spectacle, becoming cultural touchstones in their own right. This tradition was established with two pivotal conflicts that decisively shaped the future of Westeros, both wisely positioned as the penultimate episodes of their respective seasons: the Blackwater in Season 2 and The Watchers on the Wall in Season 4. This structural choice allowed each season’s finale to serve as a narrative mop-up, dealing with the aftermath. In its sixth season, the series repeated this principle for a third time with the episode aptly titled ‘Battle of the Bastards’. It is one of the most technically audacious and visually stunning pieces of the entire series, frequently cited as its ultimate highlight. However, beneath its breathtaking surface, the episode also exposes some of the narrative shortcuts and contrivances that would later become more pronounced in the show’s final seasons, making it a fascinating subject for a critical dissection.

The titular bastards are the two commanders whose clash will settle the question of who controls the North. The formal authority lies with Lord Ramsay Bolton, the legitimised bastard son of Roose Bolton. Having seized Winterfell through treachery following the Red Wedding, Ramsay maintains his grip through a campaign of terror and his deeply psychopathic personality, coercing the Northern lords into providing him with a formidable force of some 6,000 men. Arrayed against him, with at best half that number, is Ned Stark’s bastard son, Jon Snow. Jon’s army is a ragtag assemblage of Wildling refugees—the survivors from Hardhome—a handful of stragglers like the loyal Tormund Giantsbane, and a minuscule contingent of Stark loyalists who have gathered around Sansa. From the outset, the strategic and numerical odds overwhelmingly favour Ramsay. This imbalance is central to the episode’s tension, echoing the desperate defences of Blackwater and Watchers on the Wall, where a beleaguered garrison faced annihilation.

The episode opens with Jon being sternly warned by Sansa that marching on Winterfell without greater numbers is folly. Jon’s response is one of grim necessity: the onset of an even harsher winter makes keeping his army in the field impossible. He must fight now or never. This is precisely the same argument used by Stannis Baratheon before his own rash and ill-conceived charge against Ramsay, a move that ended in catastrophic defeat. The parallel is deliberate, framing Jon not as a leader backed into a corner, forced to gamble everything on a single throw of the dice. This establishes a key theme—the recurrence of strategic desperation, a motif that connects this battle to its predecessors. Blackwater too was built on a foundation of despair within King’s Landing, with Cersei Lannister preparing poison for herself and her son, believing defeat inevitable. Battle of the Bastards transplants this atmosphere of impending doom to the frozen fields outside Winterfell.

Before the main event, however, the episode delivers another significant battle on a different continent. In Essos, the fleets of the slaver city-states—Yunkai, Astapor, and Volantis—besiege Meereen. Daenerys Targaryen, having returned on the back of Drogon, vows a fiery retribution. In a scene that cleverly subverts expectations, Tyrion’s diplomatic overtures (which had previously failed) give way to a dramatic negotiation. The slavers’ representatives arrive expecting surrender, only to be informed that the surrender must be theirs. Daenerys’s claim is backed by overwhelming force: the sudden arrival of her Dothraki khalasar turns the land battle, while her three dragons, attacking from the air, make short, spectacular work of the wooden slaver fleet. It is a swift, brutal demonstration of power. Daenerys spares one master, Yezzan zo Qaggaz (Enzo Cilenti), to spread the word of her wrath, and later meets with Yara and Theon Greyjoy to secure their fleet for the invasion of Westeros. This sequence, while technically ambitious and rich in CGI, is narratively straightforward. Sometimes spectacle simplifies conflict; here, wooden ships are simply no match for dragonfire, rendering the outcome a foregone conclusion. Its primary function is to re-establish Daenerys as an unstoppable force, a contrast to the gritty, uncertain struggle about to unfold in the North.

The battle for Winterfell is where the episode truly earns its reputation, and it unfolds with a brutal, tactical realism that stands in stark contrast to the dragon-led rout in Meereen. Initially, Ser Davos devises a sound plan to mitigate Bolton’s numerical superiority: digging trenches to protect their flanks and funnel the enemy into a kill zone where they could be attacked from three sides. This plan is instantly obliterated by Ramsay’s mastery of psychological warfare. In a moment of exquisite cruelty, he produces the captured Rickon Stark, tells the boy to run towards his brother, and begins firing arrows at him. Jon Snow, acting on pure instinct, charges out alone on horseback in a futile attempt to save what he believes to be his last living brother. Rickon falls, and Jon’s cavalry and Wildlings, loyal to their commander, instinctively follow him into a disastrous frontal assault. This single, emotionally charged decision shatters any hope of disciplined tactics and triggers a massive, chaotic melee.

What follows is a directed chaos. Miguel Sapochnik, taking the directorial reins from Neil Marshall (who helmed both Blackwater and Watchers on the Wall), demonstrates an unparalleled skill in depicting the claustrophobic, visceral horror of medieval combat. The battle is shot with a terrifying intimacy. We are thrust into the press of bodies, the mud, the blood, and the panic. Ramsay, ever the pragmatist, casually orders his archers to fire volleys into the seething mass, thinning the ranks of both sides with chilling indifference. Despite these losses, he retains his disciplined infantry reserves. They advance in a grim, phalanx-like formation, shields locked, slowly and inexorably encircling Jon’s dwindling forces. The cinematography here is deliberately reminiscent of famous historical encirclements like Cannae, creating a suffocating sense of inevitability. Jon’s army is trapped, crushed, and subjected to a slow massacre. Just as the defenders in Watchers on the Wall faced annihilation from two sides, Jon’s men are compressed into a shrinking circle of death, with no possibility of escape.

Then, at the precise moment when all seems lost, the horns sound. The Knights of the Vale, led by Petyr Baelish and accompanied by Sansa Stark, arrive in a glorious cavalry charge that smashes into the rear of Bolton’s infantry. The tide turns in an instant. Ramsay flees to Winterfell, but any hope of a last stand is dashed by the giant Wun Wun, who sacrifices himself to batter down the gates. Jon storms the castle, beats Ramsay into a pulp, and Sansa later delivers poetic justice by feeding the defeated Bolton to his own starved hounds.

This climax provides the cathartic release the audience had yearned for across multiple seasons. The beloved hero triumphs, and the most despicable villain meets a gruesomely satisfying end. It is this fulfilment of fan desire that explains the episode’s immense popularity. It is one of the rare instances where Game of Thrones gives its audience exactly what they want, a stark contrast to the nihilistic shocks of the Red Wedding or the frustrating injustice of Oberyn Martell’s death.

The episode is justifiably praised for its direction. Sapochnik faced the monumental logistical challenge of staging two major battles in a single episode, a first for the series. While the Meereen sequence was more CGI-dependent, the Winterfell battle demanded a different kind of genius—making tactical sense and shifting fortunes comprehensible to a viewing audience without the aid of fantasy creatures. He succeeded magnificently, taking counsel from military historians to ground the spectacle in a harrowing realism. The violence is visceral and unflinching, but it is never gratuitous; it serves the story of a desperate, costly struggle. The triumph is costly: young Rickon and the last of the giants, Wun Wun, lie dead. This commitment to cost echoes The Watchers on the Wall, which was hollow and temporary, bought with the lives of Grenn and his brothers. Battle of the Bastards learns that lesson well—even the good guys pay a high price.

However, if there is a significant flaw in this otherwise masterful episode, it lies in the mechanism of the victory. The arrival of the Knights of the Vale functions as the ultimate deus ex machina. While the show had precedent for last-minute rescues—Stannis’s intervention at the Wall in Season 4 being the most direct parallel—the exact timing here feels too convenient, too perfectly calibrated to the moment of maximum despair. It retrospectively makes Sansa’s earlier, deliberate withholding of this potential aid from Petyr seem not strategically shrewd, but inexplicably and dangerously silly. Her refusal to even mention the possibility of Vale support created the very crisis the knights then resolve. This narrative contrivance prioritises dramatic tension over character logic, a choice that sparked considerable debate among fans and critics alike. It is a crack in the episode’s otherwise solid foundation, a hint of the more problematic, character-motivation-bending plotting that would plague the final seasons.

The episode’s quality was formally recognised with Emmy Awards for Sapochnik’s direction and for David Benioff and D.B. Weiss’s writing. Its cultural impact is undeniable, immortalised in the ubiquitous internet meme of Jon Snow standing alone, sword drawn, facing the thunderous charge of Bolton cavalry—an image that perfectly encapsulates the episode’s theme of defiant, hopeless heroism.

In the end, Battle of the Bastards represents both the apex and a subtle turning point for Game of Thrones’ tradition of penultimate battle episodes. It synthesises the claustrophobic intensity of Blackwater and the large-scale choreography of The Watchers on the Wall, refining them through Sapochnik’s visionary direction into a sequence of unparalleled cinematic power on television. It delivers cathartic, crowd-pleasing narrative resolution while maintaining a gritty, costly realism within the battle itself. Yet, its reliance on a narratively convenient rescue sows a seed of doubt. It demonstrates that when spectacle becomes the primary engine, even the most brilliantly executed battle can rest on a foundation of slightly suspect storytelling. It is, therefore, not just the ultimate highlight of the series, but also a poignant testament to its evolving priorities—a breathtaking spectacle where the sheer force of its execution very nearly, but not completely, overwhelms its structural imperfections.

RATING: 8/10 (+++)

==

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo Substack https://draxster.substack.com

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Drax
@drax (77)
894 followers
107 following
Blogger, film critic, columnist (writes in Croatian and English)
64d
Movie · on The Diary of Diana B. 50
Film Review: The Diary of Diana B. (Dnevnik Diane Budisavljević, 2019)

World War Two ended more than three-quarters of a century ago and slowly but inevitably perishes from living memory. In Croatia, however, it is still a very relevant subject, especially in the realm of politics where differences in views on contemporary issues play second fiddle to the question of which side someone’s ancestor fought for in the global conflict. This could be explained, to a certain degree, by the fact that World War II was particularly destructive in a small and relatively poor country like Croatia, causing more bloodshed and destruction than in any time before or since. And, to make things even worse, most of that bloodshed and destruction was caused by Croatians themselves, resulting in one of the darkest and most shameful chapters of national history. That war drew out the worst in people, but it also drew out the best. One example of the latter is the subject of The Diary of Diana B., the 2019 biopic directed by Croatian filmmaker Dana Budisavljević.

The film’s protagonist is the author’s distant relative Diana Budisavljević, a woman often described as Croatia’s closest equivalent to Oskar Schindler. She was actually Austrian; in her youth she married Julije Budisavljević, a Croatian Serb surgeon who would later become a member of the city’s social elite in Zagreb in the pre-WW2 years. In April 1941 the city and the rest of Croatia was occupied by Nazi Germany and their Axis allies; they installed the puppet regime of the Independent State of Croatia, led by the fascist Ustasha movement, whose platform called for the elimination of all non-Croats, namely Serbs, Jews and Romani people. Those minorities became brutally persecuted, although Budisavljević, mostly thanks to having saved some future Ustasha leaders before the war, evaded persecution himself. His wife, however, was deeply disturbed by the fate of Serb women and children being put in concentration camps and decided to collect and deliver humanitarian aid. Her efforts gained further urgency in June 1942 when a German and Ustasha offensive against Partisans on Mount Kozara in today’s Bosnia resulted in a large number of Serb children ending up in facilities like the notorious Jasenovac Concentration Camp, where thousands quickly succumbed to neglect, starvation and disease. Budisavljević organised a rescue in the form of mass adoption and foster care among Zagreb families, which ultimately saved thousands of lives; her personal connections among the higher ranks of the German military and Catholic Church made this operation possible and offered protection to her and her husband. In May 1945 victorious Partisans entered Zagreb, but the new post-war Communist government failed to recognise Diana Budisavljević’s work and, until recently, her role in those events was virtually unknown.

For Dana Budisavljević, who had made only documentaries until this point, The Diary of Diana B. is her first live-action film and it shows. Obviously inspired by Spielberg’s Schindler’s List, it tries to pay not-so-subtle homage to that film with its use of black-and-white photography. There are, however, few similarities between the two films, partly due to the much lower budget for Budisavljević’s film, which was made as a Croatian-Slovenian-Serbian co-production. Almost all live-action scenes take place indoors – in the Budisavljevićs’ luxurious villa or various offices – and consist of lengthy discussions about the protagonist’s work or the political situation, which serve as exposition for viewers not so familiar with the history of Yugoslavia in WW2. Those scenes are often poorly directed, overlong and uninspired despite some of the actors, like Alma Prica in the title role, trying their best to bring some life to their characters.

The Diary of Diana B. works best in documentary scenes, where the director can apply her rich past experience. This includes authentic documentary footage made in the camps, which is almost seamlessly fused with the rest of the film; those scenes, which feature starved and sick children, many of them actually dying in inhumane conditions, are quite disturbing, and this film should not be recommended to overly sensitive viewers. Equally powerful is the documentary footage made in the present day when four of the rescued children, now people at the twilight of their lives, recall their experiences, horrors they witnessed, and families and loved ones they lost, while one of them struggles with the fact that the loss of Diana Budisavljević’s records deprived him of his proper identity. Those segments of the film make the live-action scenes unnecessary and create the impression that Dana Budisavljević could have made a much better film if she had taken inspiration from Shoah. Although deeply flawed, this film nevertheless serves its purpose by providing an important history lesson, especially needed in these times when such lessons might be forgotten and characters like Diana Budisavljević might be needed again.

RATING: 5/10 (++)

(Note: The text in the original version is available here.)

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo

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Screen Journal

@screenjournal (63)

📍 Hive

73 followers

119 following

A Journal With Spoiler-Free Reviews of What I Watch & Play

64d

Movie · on Masters of the Universe 65

🎬 2026 Movie Review #19 | Masters Of The Universe (2026) 🎥

Image Source

This blog is a personal journal of all the movies, Tv-Shows, & Games I consume during a year which enhances my overall experience. The ratings that I give are fully based on my personal preference and enjoyment at the time of watching and I'm writing spoiler-free reviews. (All liquid earnings are used to get extra Hive Power Delegations!)

I have been away from home since Tuesday 26th of May to the Thai Coastal city Hua Hin to do Muay Thai Boxing and aside from the series I had not watched anything until I ended up going to the Cinema at Bluport Mall to fill my Sunday afternoon. I had a movie date with a girl on Wednesday to go see Backrooms so I kind of wanted to test it out in advance and I'm glad that I did. The ticket only cost around 5.8€ which is 1/3 of the price in Belgium while the theater and the technology is qually as good. The one things I underestimated though was how hard the airconditioning was on as it felt like a fridge there and it was kind of annoying during the movie. The temperature outsisde is quite hot and I dressed to that along with how it is in the mall. So it was useful that I tested it out in advance and it either was Masters of The Universe or the new Star wars movie. Since Masters of the Universe got a 7.1/10 on IMDB, I picked that one.

-|-

Superhero Movies

Personally, I'm just not into superhero movies generally even though I have seen most of the MCU movies until I think avenegers Endgame. The only reason I went to this one was for some mindless entertainment. I'm a 90s kid and He-Man is something I only know by name while I never have seen any of the cartoons.

Masters Of The Universe (6.5/10)

Well, what to say about this movie other than it's the most generic superhero movie that you can imagine. There is a main story of good and evil and the good protecting something that gets taken by the bad gut who is some time of skeleton figure. There is a hero who starts as an underdog and doesn't know his powers. Eventually he does unlock them and beats the bad guy in a fight late in the movie to restore the balance.

Image Source

On top of this, every other minute there is some kind of an attempt of a joke of which 95% of the time it simply doesn't land. The only ones that I kind of liked were the nicknames the kid gave the all the characters and also to himself (He-Man). The visuals were quite CGI-centered but most of the time it didn't bother me that much.

Image Source

Conclusion I don't regret having watched this movie as the ticket price was only 5.8€ while it filled my Sunday afternoon. I also got to learn how the movie theater here in Hua Hin works to give the next movie (which was Backrooms) a better experience. I didn't like Masters of The Universe but it had its moments so I'm still give it a 6.5/10 Score. Not worth the watch unless there is a good situation to see it.

#	2026 Watched Movies	Score
#01	The Ballad of Wallis Island	7.4/10
#02	Sorry, Baby	7.1/10
#03	The Long Walk	6.9/10
#04	Sentimental Value	6.5/10
#05	The Baltimorons	7.0/10
#06	Bugonia	7.3/10
#07	No Other Choice	6.7/10
#08	Rental Family	8.6/10
#09	Our Girls (Voor De Meisjes)	7.9/10
#10	The Life Of Chuck	8.3/10
#11	28 Years Later	7.0/10
#12	28 Years Later: The Bone Temple	7.0/10
#13	Exit 8	6.5/10
#14	Roofman	7.5/10
#15	The Housemaid	7.0/10
#16	Together	6.4/10
#17	Project Hail Mary	7.5/10
#18	Michael	7.0/10
#19	Masters Of The Universe	6.5/10

Previous Years -> List Watched Movies in 2025 -> List Watched Movies in 2024 -> List Watched Movies in 2023

@erikah
@erikah (83)
4,764 followers
182 following
Probability game player
64d
Movie · on The Alto Knights 80
The Alto Knights (2025) - Movie Review
This is my first post in this community I think, so hello Movies & TV Shows addicts, nice to meet you here :)

Today I'm going to share my thoughts about a movie I watched last week. The reason this movie got on my radar was because scrolling through Netflix's offer, I saw it was labeled as leaving soon. Unlike others, this list of "leaving soon" for me is more important than new entries and I am always making sure to check the movies and series that are going to be removed, to not miss any good ones.

The movie is called The Alto Knights and has a very well known person as the lead actor, none other than Robert de Niro. I hope I don't have to introduce him to you.

[](https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcQ6IutHx2Ukj7YAijeX3b5zRXbKUgnF4JMA6va8HrdAuzIISW2L)

Two of New York City's most notorious crime bosses vie for control of the city's streets. Once best friends, petty jealousies and a series of betrayals set them on a deadly collision course.

The movie is based on a true story and the particularity of it is that Robert de Niro is playing both leading roles. This is not unprecedented, have been other cases, but as I understand, it was the first for him and as a legends walking towards the end of his career, I'm glad he had the chance to tick this box.

Lucky me, I had no idea what I'm getting into, just as I do with exhibitions, the only thing I knew was that Robert de Niro is starring and that the movie is about the Italian mob in the US in the '50s.

After a few minutes, I got some déjà vu feeling and the movie reminded me of A Bronx Tale, a brilliant one if you like this genre and Robert de Niro. The difference between the two roles is that in A Bronx Tale, de Niro was on the other side, playing the father of a kid mixed up with the Italian mob. There's a lot to learn from that movie, but let's get back to The Alto Knights.

As I said, I knew nothing about the movie, but started to have my suspicion that I see the same actor playing both roles after a few minutes, after which the obvious move was to see what they did to get two different looking people. I must admit, they did a great job and so did de Niro as it's mot easy to be two different persons in the same time.

Being based on a true story, the screen writers had to follow the original story, which means they had little room to maneuver. As someone knowing nothing of the original story, my expectations were low, I only enjoyed what I was presented. The movie was good, de Niro level I'd say, but still, it was a bit flat, but it's still a good way to learn about the two main characters. The language was brilliant, every single actor did their part to make you feel like you're living among the Italian mobsters in the US. Costumes were also perfect.

All in all I'd rate it as 8/10.

If you like Robert de Niro, mob life, in the US and the life in the '50s in the United States in general, you'll like this movie for sure. Basically this is a piece of American history. I'm not an US citizen, so I just laid back and enjoyed what I was watching and that's the best you can do. Don't read anything before you watch the movie (except my post of course 😆), don't have any expectations, then you can enjoy the movie.

If you're a newbie, you may want to check out these guides:
@theradiodemon
@theradiodemon (58)
11 followers
11 following
64d
TV · on Mayor of Kingstown
Mayor of Kingstown | Yellowstone - spin-off | TMNT | Lioness S3 | Cop Land wróci | Outlander: Blood of myBlood S2 | They Will Kill You

[They Will Kill You] A new film will premiere on HBO on June 12th. https://www.comingsoon.net/movies/news/2143945-they-will-kill-you-hbo-max-streaming-release-date-announced-for-zazie-beetz-movie

[Outlander: Blood of My Blood] A second season will air on September 18th. https://www.comingsoon.net/tv/news/2141178-outlander-blood-of-my-blood-season-2-release-date-teaser-photos

[Cop Land] Paramount is tackling another nostalgic franchise, this time with a James Mangold film starring Sly. https://www.comingsoon.net/tv/news/2144066-90s-sylvester-stallone-movie-becoming-paramount-tv-show

[Lioness S3] The third season will debut in early August this year. https://www.comingsoon.net/tv/news/2143906-lioness-season-3-release-date-set-for-zoe-saldana-paramount-tv-shows-return

[Teenage Mutant Ninja Turtles] During a gaming event, we learned that Platinum Games will develop a triple-A game for Paramount-Skydance. https://variety.com/t/teenage-mutant-ninja-turtles/

[Scary Movie 6] We've received the final trailer for what's supposedly the most politically incorrect film of the year. https://www.comingsoon.net/movies/trailers/2140959-scary-movie-6-final-trailer-is-a-hilarious-r-rated-get-out-parody

[The Madison] According to shorwunner, the second season will debut on streaming sometime in 2027. Filming for the third season is also expected to begin then. https://www.comingsoon.net/tv/news/2141282-the-madison-season-2-3-release-date-update-taylor-sheridan

[Mayor of Kingstown] Jeremy Renner is preparing us for the supposedly epic finale of the story. https://www.comingsoon.net/tv/news/2141320-jeremy-renner-mayor-of-kingstown-final-season-5-update

[By Any Means] We've received the first photos from the film starring Mark Wahlberg & Yahya Abdul-Mateen II. We also have a poster. https://www.comingsoon.net/movies/news/2141175-mark-wahlberg-yahya-abdul-mateen-ii-by-any-means-first-photos

https://www.comingsoon.net/movies/news/2141651-mark-wahlberg-is-unrecognizable-as-a-mafia-hitman-in-by-any-means-poster

[Spider Noir] A second season is pretty much a sure thing, judging by the reception from fans, critics, and the general public. https://www.comingsoon.net/tv/news/2140917-spider-noir-season-2-seem-likelier-than-nicolas-cage-suggests

https://www.comingsoon.net/tv/news/2140697-spider-noir-season-2-nicolas-cage-good-bad-news

[The Institute] Work on season 2 is almost complete. We don't have a release date yet. https://www.comingsoon.net/tv/news/2140610-the-institute-season-2-release-date-stephen-king

[How to Rob a Bank] Famous director David Leitch is working on a new film for Prime. It has some really cool actors, including from the DC universe. I'm excited to see it once it's available on streaming. It premieres in theaters on September 4th. https://www.comingsoon.net/movies/trailers/2141563-how-to-rob-a-bank-trailer-previews-john-wick-director-superman-star-heist-movie

Mayor of Kingstown | Yellowstone - spin-off | TMNT | Lioness S3 | Cop Land wróci | Outlander: Blood of myBlood S2 | They Will Kill You

[They Will Kill You] 12 czerwca na HBO pojawi się nowy film. https://www.comingsoon.net/movies/news/2143945-they-will-kill-you-hbo-max-streaming-release-date-announced-for-zazie-beetz-movie

[Outlander: Blood of My Blood] 18 września dostaniemy drugi sezon. https://www.comingsoon.net/tv/news/2141178-outlander-blood-of-my-blood-season-2-release-date-teaser-photos

[Cop Land] Paramount uderza w kolejną nostalgiczną franczyzę, tym razem film Jamesa Mangolda z udzialem Sly'a. https://www.comingsoon.net/tv/news/2144066-90s-sylvester-stallone-movie-becoming-paramount-tv-show

[Lioness S3] Trzeci sezon zadebiutuje na początku sierpnia tego roku. https://www.comingsoon.net/tv/news/2143906-lioness-season-3-release-date-set-for-zoe-saldana-paramount-tv-shows-return

[Teenage Mutant Ninja Turtles] Podczas eventu gamingowego, dowiedzieliśmy się że Platinum Games przygotuje grę triple A dla Paramount-Skydance. https://variety.com/t/teenage-mutant-ninja-turtles/

[Scary Movie 6] Dostaliśmy ostateczny trailer podobno najbardziej niepoprawnego politycznie filmu tego roku. https://www.comingsoon.net/movies/trailers/2140959-scary-movie-6-final-trailer-is-a-hilarious-r-rated-get-out-parody

[The Madison] Wg shorwunnera, drugi sezon zadebiutuje na streamingu może w 2027. Wtedy też mają się rozpocząć zdjęcia do trzeciego sezonu. https://www.comingsoon.net/tv/news/2141282-the-madison-season-2-3-release-date-update-taylor-sheridan

[Mayor of Kingstown] Jeremy Renner przygotowuje nas na podobno epicki finał historii. https://www.comingsoon.net/tv/news/2141320-jeremy-renner-mayor-of-kingstown-final-season-5-update

[By Any Means] Dostaliśmy pierwsze zdjęcia z filmu z Mark Wahlberg & Yahya Abdul-Mateen II. Mamy też plakat. https://www.comingsoon.net/movies/news/2141175-mark-wahlberg-yahya-abdul-mateen-ii-by-any-means-first-photos

https://www.comingsoon.net/movies/news/2141651-mark-wahlberg-is-unrecognizable-as-a-mafia-hitman-in-by-any-means-poster

[Spider Noir] Drugi sezon to raczej pewniak, wnioskując po odbiorze fanów, krytyków i tym co mówią zwykli ludzie na jego temat. https://www.comingsoon.net/tv/news/2140917-spider-noir-season-2-seem-likelier-than-nicolas-cage-suggests

https://www.comingsoon.net/tv/news/2140697-spider-noir-season-2-nicolas-cage-good-bad-news

[The Institute] Prawie skończono prace nad 2 sezonem. Póki co nie znamy daty premiery. https://www.comingsoon.net/tv/news/2140610-the-institute-season-2-release-date-stephen-king

[How to Rob a Bank] Znany reżyser, David Leitch, przygotowuje nowy film dla Prime'a. Są naprawdę fajni aktorzy, m.in. ze świata DC. Chętnie zobaczę, jak już trafi na streaming. Premiera w kinach 4 września. https://www.comingsoon.net/movies/trailers/2141563-how-to-rob-a-bank-trailer-previews-john-wick-director-superman-star-heist-movie
JC Rodriguez
@jcrodriguez (79)
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Content creator | Film critic | Curator | Marketing | Web3
64d
Movie · on Borderline
Borderline
A crazed stalker

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_{Edited in Photoshop & Canva App}

You know how much I love seeing Samara Weaving covered in blood, running for her life, surviving on the edge, and a few days ago I finally got to see Borderline. I hadn't had time to see Over Your Dead Body or Ready or Not 2: Here I Come, two of her films, but I was really looking forward to them. By the way, there's a movie called Caroline Caroline, which apparently hasn't been released in my area, so I'll have to wait to see another Samara Weaving film.

This time, Borderline is quite a strange movie. It's a mix of genres that sometimes left me a little disoriented, especially at the beginning. As the movie progressed, I started to understand the story and appreciate the humor, and that's how I ended up enjoying it. A lot of crazy things happen in this story, some funnier than others, but the ones I enjoyed the most were some of the gory scenes.

The story takes place in the 90s and revolves around Paul, a completely unhinged man, and his obsession with a pop star named Sofia Minor. She's a famous star, and he's a complete loser. His fixation on her, whom he wants to marry, leads him to commit a series of hilarious and somewhat bloody acts.

He won't be alone; he'll be accompanied by a couple of lunatics like himself. Calhoun, his friend, is very strong, not very bright, and has terrible aim. And then there's Penny, a character I loved because she stars in a couple of grotesque and quite disturbing gore scenes. Penny is played by the actress Alba Baptista. I didn't know who she was, so I looked her up and discovered she's a Portuguese actress. I think she has potential in the horror genre. She has a small role in the film Mother Mary, so I hope she gets more work in Hollywood.

The other actor with significant screen time, playing the deranged stalker, is Ray Nicholson, Jack Nicholson's son. He follows in his father's footsteps, bearing a striking resemblance to the teenager with the same unsettling smile. These unhinged roles suit him perfectly. It's a very theatrical character, full of humor and madness, and the actor shines in his role. He and the Portuguese woman are the funniest characters in the film.

Of course, Samara Weaving does what she does best: run, fight, kill, jump, and end up covered in blood, though not quite as much as in some of her other films. While the story isn't entirely well-developed and there are details that betray its low budget, it's still entertaining.

It's not a film to analyze in depth; just watch it to pass the time. The cast is what makes it work. Look for it on your streaming platform and tell me what you think.

Ya saben cuánto me encanta ver a Samara Weaving cubierta de sangre, corriendo por su vida, sobreviviendo al límite, y hace unos días por fin pude ver Borderline. No había tenido tiempo de ver Over Your Dead Body ni Ready or Not 2: Here I Come, dos de sus películas, pero tenía muchas ganas de verlas. Por cierto, hay una película llamada Caroline Caroline, que al parecer no se ha estrenado en mi zona, así que tendré que esperar para ver otra película de Samara Weaving.

Esta vez, Borderline es una película bastante extraña. Es una mezcla de géneros que a veces me dejó un poco desorientada, sobre todo al principio. A medida que avanzaba la película, empecé a entender la historia y a aceptar el humor, y así fue como terminé disfrutándola. Pasan muchas cosas locas en esta historia, algunas más graciosas que otras, pero las que más disfruté fueron algunas de las escenas gore.

La historia se desarrolla en los años 90 y gira en torno a Paul, un hombre completamente desequilibrado, y su obsesión con una estrella del pop llamada Sofia Minor. Ella es una estrella famosa, y él un completo perdedor. Su fijación con ella, con quien quiere casarse, lo lleva a cometer una serie de actos hilarantes y algo sangrientos.

No estará solo; lo acompañarán un par de locos como él. Calhoun, su amigo, es muy fuerte, tiene poca inteligencia y una puntería pésima. Y también está Penny, un personaje que me encantó porque protagoniza un par de escenas de gore grotescas y bastante perturbadoras. Penny es interpretada por la actriz Alba Baptista. No sabía quién era, así que la busqué y descubrí que es una actriz portuguesa. Creo que tiene potencial en el género de terror. Tiene un pequeño papel en la película Mother Mary, así que espero que consiga más trabajo en Hollywood.

El otro actor con mucho tiempo en pantalla, interpretando al acosador desquiciado, es Ray Nicholson, hijo de Jack Nicholson. Sigue los pasos de su padre, con un parecido asombroso al adolescente de la misma sonrisa perturbadora. Estos papeles desquiciados le sientan de maravilla. Es un personaje muy teatral, lleno de humor y locura, y el actor brilla en su papel. Él y la mujer portuguesa son los personajes más divertidos de la película.

Por supuesto, Samara Weaving hace lo que mejor sabe hacer: correr, pelear, matar, saltar y acabar cubierta de sangre, aunque no tanto como en otras de sus películas. Si bien la historia no está del todo bien desarrollada y hay detalles que evidencian su bajo presupuesto, sigue siendo entretenida.

No es una película para analizar en profundidad; simplemente mírala para pasar el rato. El reparto es lo que hace que funcione. Búscala en tu plataforma de streaming y dime qué te parece.

_Source

Gifs and separators made by me in photoshop. Translation with Deepl

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Drax
@drax (77)
894 followers
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Blogger, film critic, columnist (writes in Croatian and English)
64d
TV · on Skyfall 50
Film Review: Skyfall (2012)

James Bond has survived a great deal over half a century on the silver screen. He has outlasted his creator Ian Fleming, weathered the departure of Sean Connery (the first and, for many, the only true cinematic Bond), and emerged unscathed from ill-advised casting experiments and the end of the Cold War, which rather robbed fictional characters of his ilk of their primary purpose. He even survived the appointment of Daniel Craig, a choice that initially had diehard fans clutching their pearls. Given this track record, one might reasonably expect the longest-running film franchise in history to endure the particular trials presented by Skyfall—and endure it does, though not without showing some rather telling signs of strain.

That survival remains very much the operative word is established by the traditionally spectacular pre-credits sequence, which concludes in a manner that would spell the end for any ordinary protagonist. For this secret agent, however—one who is beginning to show his years—it merely provides an opportunity for an extended disappearance. Bond retreats into the shadows, only resurfacing after a terrorist bombing of MI6 headquarters in London. With his colleagues dead or wounded, and the intelligence service under threat, the presumed-dead 007 returns to active duty, submitting himself to a series of humiliating physical and psychological assessments before tracking the perpetrator to Shanghai. There he encounters Sévérine (Bérénice Marlohe), an exotic beauty connected to Silva (Javier Bardem), a former British agent turned cyber-terrorist with a personal vendetta against M (Judi Dench).

The fundamental challenge facing any new Bond film is the need to satisfy audience expectations regarding the preservation of the formula—spectacular action, exotic locations, beautiful women—whilst simultaneously offering something different. That the makers of Skyfall intended to emphasise the latter became clear the moment Sam Mendes was announced as director. A filmmaker whose specialism lies in gloomy dramas about the emptiness of modern bourgeois existence, Mendes appeared an odd fit for the franchise. It became apparent that Christopher Nolan's "dark" reinvention of Batman had served as the primary inspiration; the result is a Bond film that is far removed from escapist adventure and the embodiment of petty-bourgeois ideals. Mendes seems intent on "deconstructing" the character, presenting him as a frustrated middle-aged man grappling with vulnerabilities and childhood traumas he has never overcome. The theme of mortality is further emphasised by the prominence of M, played by a visibly exhausted Judi Dench, who here becomes the first M in franchise history to utter the word "fuck."

This deconstruction extends to the villain. Bardem's Silva is conceived as a curious amalgam of Heath Ledger's Joker, a camp auntie, and an Oedipal homicidal maniac. The film's climax, set in the Scottish Highlands at Bond's ancestral home, feels more appropriate to a minimalist anti-Western than to a modern action blockbuster.

Despite such iconoclastic tendencies, Skyfall remains largely entertaining and successful. This is thanks in no small part to Mendes's skilled use of locations, several genuinely impressive action sequences, direct and indirect homages to classic Bond films, and a strong cast. Marlohe stands out as one of the most memorable Bond girls in recent memory—a femme fatale in the truest sense. Roger Deakins's cinematography is frequently stunning, particularly in the Shanghai sequence bathed in neon light.

However, the critical panegyrics that elevated Skyfall to the status of greatest Bond film ever made do not withstand scrutiny. The picture is overlong, and due to shifts in location and tone, it occasionally feels as though one is watching two different films—a conventional Bond adventure and a self-consciously "serious" character study—crudely stitched together. The dialogue, to put it mildly, is unlikely to feature in any Bond anthology. The attempt to give Bond a traumatic backstory and a literal family home (complete with a caretaker played by Albert Finney) borders on the bathetic, undermining the very ambiguity that has allowed the character to endure for fifty years.

Viewed in the context of Daniel Craig's tenure, Skyfall represents a partial recovery from the nadir of Quantum of Solace (2008), that rushed, incoherent sequel which suffered from the Writers' Guild strike and misguided directorial choices. Yet it falls well short of the standard established by Casino Royale (2006), which successfully rebooted the franchise by stripping away decades of accumulated excess and returning Bond to something approaching Fleming's original conception. Where Casino Royale balanced realism with genuine emotional stakes, Skyfall substitutes brooding introspection for character development. The seeds of the franchise's subsequent decline—evident in the disappointing Spectre (2015), where Craig's evident weariness and the cheapening of Bond's relationship with his arch-nemesis Blofeld reached their nadir—were arguably sown here.

For all its pretensions towards seriousness, Skyfall ultimately demonstrates that James Bond still has a future, even if this particular iteration suggests a franchise increasingly uncertain of its identity. It is a film that wants to have its cake and eat it—to deconstruct the hero whilst celebrating him; to reject the formula whilst relying upon it. The result is a handsome, occasionally thrilling, but ultimately compromised picture: superior to the immediate predecessor, inferior to the franchise's best, and considerably less revolutionary than its admirers claimed.

RATING: 5/10 (++)

(Note: The text in the original Croatian version is available here.)

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@mairene1
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64d
Movie · on Something the Lord Made
Something the Lord Made [Movie Reveiew] ESP/ENG

(Cover designed by me in canva editor)

Portada diseñada por mi en el editor de Canva

Fuente

Fuente

I recently decided to take a formal tour through the entire filmography of my all-time favorite actor, Alan Rickman, because there are really many of his films that I haven't seen yet, but each time I realize why his films are so special and have that certain something, since he didn't accept just any role but those that have personality and leave a mark, in this case for example we see him playing Doctor Alfred Blaloc a brilliant scientist and surgeon who also existed in real life.

Recientemente decidí darme un paseo formal por toda la filmografía de mi actor favorito de todos los tiempos, Alan Rickman, porque realmente son muchas las películas suyas que yo aún no he visto, pero cada vez me doy cuenta de porque sus películas son tan especiales y tienen ese no se qué, ya que él no aceptaba cualquier rol sino esos que tienen personalidad y dejan una huella, en este caso por ejemplo lo vemos interpretando al Doctor Alfred Blaloc un científico y cirujano brillante que además existió en la vida real.

Overview/Resumen

The film begins in the late 1920s and then jumps forward in time to the 1930s and 40s. Vivien Thomas, the protagonist, is a brilliant technician, a "handyman"—someone who can do everything: repair, build, and so on. He loses his life savings (due to the Great Depression of 1929), the money he had saved for university, and is forced to take a job as a maintenance worker at Vanderbilt University. There, Dr. Alfred Blalock sees great potential in him (he learns quickly, is daring, has great self-confidence, and enjoys research and innovation). They begin working together on experiments to improve surgical techniques and save lives. Suddenly, they encounter the dilemma of "blue babies," infants whose skin turns blue due to insufficient oxygen saturation. Alfred... Blalock and Vivien Thomas work hard until they find an effective solution, becoming pioneers in this type of heart surgery. However, the big problem is that Vivien never went to university due to circumstances; her knowledge is self-taught, and she must also fight against the injustices of the system, racism, and segregation of her time.

Al inicio la película transcurre durante los últimos años 20 y luego va avanzando en el tiempo durante los años 30 y 40, Vivien Thomas, el protagonista de esta historia, es un técnico brillante, también lo que se conoce como un "Handyman" es decir, de esas personas que pueden hacer de todo: reparar, construir cosas, en fin... el caso es que él pierde (por causa de la gran crísis del 29) todos sus ahorros de siete años de trabajo con los que pensaba entrar en la universidad, y por esa razón se ve obligado a trabajar como mantenimiento en Universidad de Vanderbilt, pero allí ele doctor Alfred Blalock ve grandes actitudes en él (aprende rápido, es osado, tiene una gran seguridad en sí mismo, le gusta investigar e innovar) así que ambos comienzan a trabajar en experimentos que les permitan mejorar técnicas de cirugías para salvar vidas, cuando de pronto se encuentran con el dilema de los "niños azules" bebes cuyo tono de piel cambia a ese color debido a que no tienen una buena saturación de oxigeno, de esta manera tanto Alfred Blalock como Vivien Thomas trabajan duramente hasta dar con una solución efectiva convirtiéndose en pioneros en la cirugía cardíaca de esta índole, sin embargo el gran problema es que Vivien nunca fue a la universidad debido a las circunstancias, sus conocimientos son autodidactas y además debe luchar contra als injusticias del sistema, el racismo y la segregación de su época.

Trailer
My Opinion/Mi Opinión

This film (like many of its kind) aims to expose the profound structural hypocrisy of the labor system of that era, a consequence of racism and segregation. Vivien had to enter through the back door, couldn't use the same restrooms as white people, received a meager salary, and to top it all off, his work wasn't publicly recognized, even though he was the main architect of the technique Dr. Blalock used in his surgeries. Here, I must mention Mos Def's performance, which was brilliant and perfectly suited to the demands of his role. His gestures conveyed the frustration his character felt, but at the same time, one could also perceive his love and passion for his work, his great resilience, and his almost inexhaustible patience to endure all the injustices that were normalized in his time.

Esta película (al igual que muchas de esta índole) pretende exponer la gran hipocresía estructural que tenía el sistema laboral de esa época por causa del racismo y la segregación, Vivien debía entrar por la puerta de atrás, no podía usar los mismos baños que los blancos, recibí un salario miserable y para colmo su labor no era reconocida públicamente, aún y cuando fue él el principal artificie de la técnica que el doctor Blalock usó en sus cirugías, y aquí debo mencionar la actuación de Mos Def pues estuvo brillante y a la altura de las exigencias de su rol, en sus gestos se notaba la frustración que sentía su personaje, pero a la vez también se podía percibir el amor y la pasión por su trabajo, la gran resiliencia y la paciencia casi inagotable que tenía para poder soportar todas las injusticias que en su época estaban normalizadas.

Fuente

As for Alan, wow! His Shakespearean theatrical training is evident in his gestures and the force he brings to each of his characters, always with a very personal touch of arrogance. In this case, Dr. Alfred Blalock also required a certain indifferent tone, normalizing concepts that are quite questionable today. Furthermore, playing characters who move in the field of medicine is not easy at all; it requires not only memorizing unfamiliar terms, but also speaking and moving as surgeons do in their environment but in a different context and era. So, as always, I was very satisfied with his performance.

En cuanto a Alan ¡Wow! se nota su formación teatral shakespeariana en sus gestos y la fuerza que imprime a cada uno de sus personajes, siempre con matiz de arrogancia muy personal, en este caso el Doctor Alfred Blalock requería también de cierto matiz indiferente, normalizando conceptos que hoy en día son bastante cuestionables, además interpretar personajes que se mueven en el ampo de la medicina no es nada fácil, requiere no solo de memorizar términos poco familiares, sino que debes hablar y moverte como los hacen los cirujanos en su entorno pero en un contexto y época distinta, así que como siempre quedé muy satisfecha con su actuación.

Fuente

The relationship between Blalock and Thomas is very complex. They admire and appreciate each other, but Blalock is unwilling to publicly acknowledge Vivien Thomas's great talent, even though he knows it's essential. In fact, on occasion, he swallowed his pride to seek him out, but his scientific ego and fear of challenging the conventions of the complicated era in which they lived were always there. However, the ending of this film is... Wow! I won't say anything except that it didn't disappoint me at all.

La relación entre ambos Blalock y Thomas es muy compleja, ambos se admiran y se aprecian pero Blalock no está dispuesto a reconocer en publico el gran talento de Vivien Thomas, a pesar de que sabe que es imprescindible y de hecho en algunas ocasiones doblegó su orgullo para ir a buscarlo, pero siempre está allí el ego científico y ese miedo a desafiar los convencionalismos de la complicada época en la que vivían. Sin embargo el final que tuvo esta película es... ¡Wow! No mencionaré nada a excepción de que no me decepcionó para nada.

Fuente

Something that fascinated me about this film is that it completely departs from anything that could be considered "woke." It's not a story about racism and segregation, but rather one of overcoming adversity and achieving justice. It raises a profound question about what truly matters in professionals: their university degree or their actual knowledge and capacity for innovation? Furthermore, this is an original story; it doesn't attempt to usurp established narratives like Disney's The Little Mermaid or Snow White, or the almost cartoonish versions that cinema and Netflix have usefully presented of literary and even, worse still, historical figures, which, frankly, only cause great disappointment. So, I think this film is a great example for contemporary cinema. If we want to see inclusion or the representation that new generations so desperately crave, we need more authentic stories.

Algo que me fascinó de esta película es que se aleja totalmente de todo lo que se pueda considerar como "Woke" pues no es una historia sobre racismo y segregación, sino de superación y justicia que pone sobre la mesa una gran reflexión acerca de lo que realmente importa en los profesionales ¿su título universitario o sus conocimientos reales y su capacidad de innovación? Además esta es una historia propia, no pretende usurpar historias ya establecidas como la Sirenita o Blancanieves de Disney, o las versiones casi caricaturescas que ha presentado el cine o Netflix útilmente sobre personajes literarios e incluso, peor aún, históricos, que la verdad solo causan gran decepción, así que creo que esta película es un gran ejemplo para el cine actual, si queremos ver inclusión o la representación que tanto anhelan las nuevas generaciones, necesitamos más historias autenticas.

Fuente

Well, here's my recommendation, and I hope you enjoy it. I don't regret watching this movie at all; on the contrary, I treasure it in my mind and heart, and I can now cross another Alan Rickman film off my watchlist 🤗

Bueno, por aquí les dejo esa recomendación y espero que sea de su agrado, no me arrepiento de haber visto esta película, al contrario, la atesoro en mi mente y en mi corazón, y ya puedo tachar una más de las películas de Alan Rickman de mi lista de películas por ver 🤗

(Image designed by me in canva editor)

Imagen diseñada por mi en el editor de Canva.
Juliet
@julie100 (64)
📍 Nigeria
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Greatness Is The Vision
65d
Movie · on Dangal 100
MOVIE REVIEW: DANGAL

This is one of the greatest sports movies and family films that I have ever seen. It is based on the real life story of a former wrestler who dreams of winning a country's gold medal. He can't do it himself so he trains his daughters to do it and to make his dream come true.

The film is about the life of a hardworking and determined father Mahavir Singh Phogat. He always wanted a son who could be a wrestling champion, but he was blessed with daughters. He was initially disappointed as wrestling was perceived as a sport for boys. But, he had seen his daughters playing and winning against some boys in their village and saw his daughters had a lot of potentials. After that, he started working them seriously.

I enjoyed one aspect of Dangal - the message! The film conveys the message that talent knows no gender. Mahavir was a man of faith with respect to his daughters, when the people in the community ridiculed him. He was criticized and opposed, but never wavered. This demonstrates the value of determination, courage and having confidence in others when others lack confidence.

The acting in the film is superb. Mahavir's actor portrayal was impressive. He did a great job as a strict and caring father. The young actresses playing the daughters did an amazing job as well. The feeling of their emotions throughout the film, the struggles they had and the way that they came out of it and became better people was real and it was touching.

Dangal is also noteworthy for its emotional qualities. It's not just the wrestling meet. It's also a book that's about family, sacrifice, discipline, and the bond between a father and his daughters. I had some moments that made me smile, moments that made me feel inspired and moments that made me feel emotional. The film reveals that success can often be achieved through perseverance and hard work, rather than luck.

The wrestlings were quite thrilling and realistic. The training sessions really demonstrated the commitment and dedication required to be a champion. The stakes were important in each match, keeping me interested. The movie was superb at creating the tension and excitement of the competitions.

I also liked the story of how women have faced challenges in sports highlighted. The female students needed to defy social expectations and stereotypes. Many people thought that girls shouldn't wrestle, but they didn't! This scene is motivating and shows that people should pursue whatever they want to do, even if they're told they can't.

The cinematography and music were excellent, too. The music was appropriate to the story and helped to convey the characters' emotions. The film's setting was rural, which added to its authenticity, and thus the story was even more believable and intriguing.

I personally really liked Dangal and it was a motivator and entertainer as well. It made me realize that dedication, patience and perseverance are the keys to success. The film also delivered the message of the value of family support and the need for someone who believes in you. Although the father was strict, it was because he wanted his daughters to be great.

To sum up, Dangal is a motivational film, a film about family values and some great life lessons. A tale of overcoming obstacles, pursuing dreams, and never surrendering. This film has a message for both sports-fans and those who dislike sports films. It is a memorable experience due to its strong performances, emotional storytelling and motivational message.

My Rating: ⭐⭐⭐⭐⭐ 4.8/5

Dangal is a film that motivates, amuses and leaves an impression on the viewers. It's certainly worth a watch.

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Nattosheru
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📍 Neverland
203 followers
160 following
Newbie at everything, expert at nothing.
65d
Movie · on Memento 85
Memento (2000) | Nattosheru Review [ENG/SPA]

Hello, cinema fans. Today we’re kicking off another installment of our “Cult Directors” special, but this time with another great director who has proven himself to be one of the greatest cinematic geniuses of this century. We’re starting with one of his earliest films—the first one that left us utterly baffled by its baffling ending, to be honest. Based on a short story written by his brother Jonathan titled “Memento mori,” Memento was written and directed by the great Christopher Nolan. The film stars Guy Pearce, Carrie-Anne Moss, and Joe Pantoliano. Discover the film that managed to confuse an entire generation.

Hola, fanáticos del cine. Hoy damos inicio a otra sección del especial “Directores de Culto”, pero esta vez con otro grandioso director que ha demostrado ser uno de los grandes genios del cine de este siglo. Empezamos con una de sus primeras películas, la primera que nos dejó alucinando con su incomprensible final, en realidad. Basado en un cuento corto que escribió su hermano Jonathan titulado “Memento mori”, Memento fue escrito y dirigido por el gran Christopher Nolan. La película cuenta con el protagonismo de Guy Pearce, Carrie-Anne Moss y Joe Pantoliano. Conoce la película que logró confundir a toda una generación.

Source: FilmAffinity.

Plot
The film opens with a shot of a hand holding a Polaroid photograph of what appears to be a dead body against a bloodstained wall. As the seconds tick by, we see the hand shaking the photograph, and the image gradually fades away. Next, we see a flashback of a murder, followed by a photograph of the body. The next scene shows the same individual who committed the murder at the beginning waking up in a hotel, completely disoriented and unable to remember anything recent. Meanwhile, we hear his voice in what appears to be an internal monologue describing the situation.

Trama
La película inicia mostrándonos una mano sosteniendo una fotografía Polaroid con lo que parece ser un cuerpo muerto con una pared manchada de sangre. Mientras pasan los segundos, vemos cómo la mano agita la fotografía y la imagen se va desapareciendo poco a poco. Acto seguido, vemos una escena en retroceso de un asesinato, seguido de una fotografía del cuerpo. La siguiente escena es la del mismo individuo que asesinó al principio despertando en un hotel completamente desorientado e incapaz de recordar nada reciente. Mientras tanto, escuchamos su voz en lo que parece ser un monólogo interno describiendo la situación.

Trailer & Review
Here is the movie trailer:

By: Rotten Tomatoes Classic Trailers.

What a way to kick off this special, really. I’m not just saying that because the movie I’m bringing you is one of the most confusing and difficult to watch and understand that I’ve ever seen, but also because this is the first time I’ve seen it—even though it’s apparently so well-known. Memento is a film that, in my opinion, serves perfectly as an opening to what you’ll see in the coming weeks, which will be dedicated to the “Cult Directors” special featuring Christopher Nolan. Surely many of you reading this are already familiar with his work, as some of his films have made history across various fields, genres, and eras.

I decided to continue with this special, now talking to you about the Christopher Nolan films I know that have made history, since he is another director with a relatively small filmography, yet one that is just as powerful as that of many other well-known directors. Returning to Memento, the film is a perfect masterpiece for fans of psychological thrillers, puzzles, and plots deconstructed along a timeless and perfectly structured timeline. It’s a film I don’t recommend to everyone, especially those with such short attention spans due to heavy use of social media platforms like TikTok, for example.

Vaya forma de empezar este especial, de verdad. No solo lo digo porque la película que les traigo es de las más confusas y complicadas de ver y entender que he visto en mi vida, sino también porque es la primera vez que la veo, aún con lo conocida que es y todo, al parecer. Memento es una cinta que, opino yo, sirve perfectamente como una apertura a lo que verán en las siguientes semanas que estarán dedicadas al especial “Directores de Culto” con Christopher Nolan. Seguramente muchos de los que me leen conocerán su trabajo ya que algunas de sus películas hicieron historia en varios ámbitos, géneros y épocas.

Decidí continuar con este especial, ahora hablándoles de las películas de Christopher Nolan que conozco y que han hecho historia ya que es otro director que tiene un repertorio filmográfico relativamente pequeño, pero igual de potente que el de muchos otros directores conocidos. Volviendo con Memento, la película es una cátedra perfecta para los que son fanáticos del thriller psicológico, los acertijos y las tramas deconstruidas en una línea atemporal y perfectamente dividida. Es una película que no recomiendo a todo el mundo, menos a los que tienen tan corta capacidad de atención debido al alto consumo de redes sociales como TikTok, por ejemplo.

Source: Tenor.

With Memento, you have to pay close attention—not only to each scene, but also to what’s going on around it, as well as to the dialogue and the vast number of clues, signals, and details the film offers throughout its nearly two-hour runtime. All of this is so that you can understand a little of everything happening around our protagonist, who is also a very special case due to a serious mental condition called anterograde amnesia, which prevents him from retaining memories made after the incident that caused his disability. To carry on with his life, he created a complex system that allows him to retain certain important information.

The problem with all this is that, due to the incident that left him in this state, he decides to embark on a dark path of revenge and has spent a long time searching for the culprit, not only of his disability but also of the loss of his beloved wife. One interesting thing to keep in mind about this movie—whether you watch it now or later—is that it tells two sides of a story that unfold in parallel. In other words, there are two parts to the story: the first is told in color, but in a descending or backward chronological order, while the second part is told in black and white, but in an ascending chronological order.

Con Memento tienes que prestar bastante atención, no solo a cada escena, sino a su alrededor, además de los diálogos y la enorme cantidad de pistas, señales y elementos que nos ofrece a lo largo de sus casi dos horas de duración. Todo esto es con tal de que comprendas un poco todo lo que ocurre alrededor de nuestro protagonista, quien también es un caso muy especial al tener un serio problema mental llamado amnesia anterógrada, lo cual le imposibilita retener recuerdos recientes o posteriores al incidente que le ocasionó dicha discapacidad. Para poder seguir con su vida, creó un complejo sistema que le permite retener cierta información importante.

El problema de todo esto es que, debido a dicho incidente que lo dejó así, decide recorrer un oscuro camino de venganza y lleva mucho tiempo buscando al culpable, no solo de su discapacidad, sino también de la pérdida de su querida esposa. Una cosa interesante que deben de tener en cuenta de esta película ahora o luego si desean ir a verla es que la misma nos cuenta dos lados de una historia que se van construyendo de forma paralela. O sea, que hay dos partes de una historia: la primera es contada a color, pero de forma descendente o en retroceso, mientras que la segunda parte es contada en blando y negro, pero de forma ascendente.

Source: Tenor.

What’s interesting is how the film itself presents both stories, distinguishing them not only visually but also by playing with the order of the sequences, moments, cuts, and transitions. Another thing worth noting is the way the film draws our attention to all the details surrounding our protagonist in every scene, gradually giving us the context of what he does—since it seems that before his incident he was some kind of investigator—and we notice certain habits or actions that stand out quite a bit. There are also characters who appear throughout the film who also draw a lot of attention.

The first to stand out is Teddy, the man we see at the beginning with the protagonist and who seems to suspect that he is the person he’s been looking for all this time. However, as the minutes pass, we reach a point where we don’t know who he really is (or was, but anyway). We also have Natalie, a woman whom our protagonist seems to be connected to because of a favor he asked her to do. While in the first half-hour the story seems straightforward—with what appeared to be the ending right from the start—soon we find ourselves asking more and more questions about everything that’s happening.

Lo interesante es cómo la misma película nos muestra ambas historias, diferenciándose no sólo a nivel visual, sino también jugando también con el orden de las secuencias, los momentos, los cortes y las transiciones. Otra cosa a destacar es la forma en la que la película centra nuestra atención a todos los detalles que hay alrededor de nuestro protagonista en cada escena, dándonos poco a poco el contexto de lo que él hace -ya que parece que antes de su incidente era una especie de investigador- y notamos ciertos hábitos o acciones que resaltan bastante. También están los personajes que aparecen a lo largo de la película que también llaman mucho la atención.

El primero que resalta es Teddy, el hombre al que vemos al principio con el protagonista y que parece sospechar de que él sea la persona que ha estado buscando todo este tiempo. Sin embargo, con el paso de los minutos, llegamos a un punto en el que no sabemos quién es realmente (o fue, pero bueno). También tenemos a Natalie, una mujer que parece que nuestro protagonista está relacionado con ella debido a un favor que le pidió que hiciera. Si bien en la primera media hora vemos cómo la historia llega a ser fácil de entender, viendo lo que pareció ser el final al principio, luego son más y más las preguntas que nos hacemos de todo lo que está ocurriendo.

Source: Tenor.

And it’s normal to have so many questions, even as we reach the film’s climax, where everything leads to a completely mind-blowing conclusion. The way it all ends—so natural, yet so macabre and nonsensical—is truly absurd. Well, let’s keep in mind that the movie itself takes a downward turn to a certain extent, and everything we discover about our protagonist—like his name, his past, and everything he’s been doing since the incident—is so complex that it’s hard to draw a definitive conclusion about it all. But this is mainly due to the protagonist’s own inability to retain recent memories.

Who knows how many years he’s been doing this—seeking revenge for his wife’s death by investigating and catching the killer—whether he managed to catch and kill him in the end or not, whether everything he knows or has managed to investigate and retain all this time is true or not, and so on. So many things happen in such a chaotic and timeless way that it’s understandable that one ends up feeling more disoriented than Leonard Shelby himself. A notable detail is the entire relationship and dialogue our protagonist has with the other characters mentioned throughout the film. All of this is done with the specific intention of confusing us and making us experience what the protagonist is going through.

Y es normal que te hagas tantas preguntas, incluso cuando llegamos a la parte final de la película donde todo nos lleva a un desenlace final que es completamente alucinante. La forma tan natural y a la vez tan macabra y sin sentido en lo que finaliza todo es absurdo, de verdad. Bueno, tengamos en cuenta que la propia película va de forma descendente hasta cierto punto y todo lo que descubrimos de nuestro protagonista como su nombre, su pasado y todo lo que ha estado haciendo luego del incidente es tan complejo que es difícil sacar una conclusión acertada a todo. Pero esto se debe principalmente a la propia incapacidad del protagonista de no retener recuerdos recientes.

Quién sabe cuántos años ha estado haciendo esto de ir a vengarse de la muerte de su esposa al investigar y atrapar al asesino, si lo consiguió atrapar y matar al final o no, si todo lo que sabe o ha conseguido investigar y retener por todo este tiempo es verídico o no, etc. Son tantas cosas que suceden de una forma tan desordenada y atemporal que es comprensible que uno se quede más desorientado que el mismo Leonard Shelby al final. Un detalle notable es toda la relación y diálogos que tiene nuestro protagonista con los otros personajes ya mencionados a lo largo de la película. Todo esto está hecho así con dicha intención de confundir y hacernos vivir lo que vive el protagonista.

Source: Tenor.

This is something I really liked about the movie—the way it made me rack my brain with its unique storytelling and structured the narrative so that we could experience exactly what Leonard is going through. Needless to say, that confusing ending is also perfect for this movie, as it leaves it up to the viewer to draw their own conclusions after everything they’ve just seen. Personally, I don’t know if what I just watched was a complex story of revenge, betrayal, manipulation, and murder, or if it was actually the rambling confession of a serial killer who’s perfect for the job because of his mental disability.

But anyway, those of you who have seen this movie can tell me what you think about it and what conjectures or assumptions you drew after watching it. What fascinates me most about this psychological thriller is the way it gnaws at your mind with so many ideas, assumptions, questions, and issues that make you doubt even your own existence. Because yes, Memento can even be considered a very specific case of a lack of or search for identity, and the entire story it tells us about Sammy Jankis and how he relates to the protagonist is a perfect example of this. What if, in reality, the final fate of Leonard Shelby’s wife was the same as that of Sammy’s wife?

Esto es algo que me gustó mucho de la película, que me quiebre la cabeza con su forma tan única de narrarnos dicha historia y construirla de una forma que podamos experimentar lo que experimenta Leonard. No hace falta mencionar que dicho final, todo confuso, es también perfecto para esta película ya que deja a consideración del espectador qué conclusiones sacar luego de todo lo que uno acaba de ver. Personalmente, no sé si lo que acabé de ver fue una compleja historia de venganza, traición, manipulación y asesinato o fue en realidad la confusa declaración de un asesino en serie perfecto debido a su discapacidad mental.

Pero bueno, ya me dirán los que sí hayan visto esta película qué opinan al respecto y qué conjeturas o suposiciones sacaron luego de haberla visto. Lo que más me fascina del thriller psicológico es la forma como te carcome la mente con tantas ideas, suposiciones, preguntas y cuestiones que te hacen dudar hasta de tu propia existencia. Porque sí, Memento incluso se puede considerar como un caso muy particular de falta o búsqueda de identidad y toda la historia que nos cuenta de Sammy Jankis y cómo se relaciona con el protagonista es una razón perfecta de esto. ¿Y si en realidad el destino final de la esposa de Leonard Shelby fue el mismo que el de la esposa de Sammy?

Source: Tenor.

The film also stands out visually and aurally, especially considering the era in which it was made. And that’s to be expected, given that Christopher Nolan himself was behind this film. Not only do we see his ingenious ability to tell mind-blowing stories, but we also see the first cinematic evidence of his mastery of the audiovisual medium. The use of cameras, the shots, the film’s cool, grayish palette, the use of light and shadow, the visual elements, and the vast array of practical resources and elements in the film are fascinating.

Another aspect that really stands out is the production, composition, and cinematographic styles in the various settings and scenes we see throughout the film. I really love how it plays with all the visual elements to convey everything our protagonist sees, thinks, and feels. And not only that, but the sound effects and the film’s soundtrack also contribute greatly to this. You can perfectly feel the moments of tension and mystery throughout the film just by listening to the background music and watching the changes in the cinematography. Anyway, here’s this perfect movie to leave you thinking for quite a while.

Personally, I give it a rating of 8.5/10 in terms of the psychological thriller, mystery, and drama genres.

La película también logra destacarse muy bien a nivel audiovisual, considerando la época en la que fue producida. Y es de esperarse al saber que es el mismo Christopher Nolan quien estuvo detrás de esta película. No solo vemos su capacidad ingeniosa de contarnos historias que nos vuelan la cabeza, sino que también vemos los primeros registros cinematográficos de su maestría para lo audiovisual. El uso de las cámaras, los planos, la paleta fría y grisácea que tiene la película, el uso de las luces y las sombras, los elementos visuales y la enorme cantidad de recursos o elementos prácticos que tiene la película es fascinante.

Otra cosa con la que se luce también es la producción, orden y estilos de fotografía en los diferentes escenarios o fragmentos que vemos a lo largo de esta película. Me gusta mucho cómo juega con todos los elementos visuales para transmitirnos todo lo que ve, piensa y siente nuestro protagonista. Y no solo eso, sino que también los efectos de sonido y la banda sonora que tiene la película colaboran mucho con esto. Se puede sentir perfectamente los momentos de tensión y misterio a lo largo de la película con tan solo escuchar la música de fondo y ver los cambios en la fotografía. En fin, aquí les dejo esta película perfecta para que te deje pensando por un buen rato.

Personalmente, le doy una calificación de 8.5/10 en lo que respecta al género de suspenso psicológico, misterio y drama.

Tell me, have you seen this movie yet? What did you think of it? Feel free to leave your thoughts in the comments.

Dime, ¿ya has visto esta película? ¿Qué te ha parecido? Puedes dejarme tu respuesta en los comentarios.

CREDITS SOURCES

Cover, Banners and Separators: Canva.

Traslated by: DeepL Translate.

Character Art by: Ushiro Snow

Character Created by: Bing Image Generator.

Markdown Tool: Hive Studio.

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To all of you artists and creators out here at HIVE! If you ever are lost, please join Bokura No Digital World at our Discord Sever.

All the best.

By: Nattosheru.

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Movie · on Hallow Road
MOVIE REVIEW: “Hallow Road” (2025)
This publication was also writen in SPANISH and PORTUGUESE.

IMDb

Synopsis: During the early hours of the morning, after receiving a distressing call from their daughter reporting that she caused a car accident under suspicious circumstances, a couple must race against time to try and find a solution (before it's too late) amidst their own dilemmas.

The power of intimate cinema lies in the weight of words in relation to all the actions in which they are uttered. Bringing a dramatic approach that is based on different segments (the two strongest being the psychological side, with a strategic inclination towards the folkloric side), this movie manages to be truly intriguing (even though it is just under 65 minutes long) precisely because of the way it works with verbal communication between the protagonists.

365Filmes

Technically, we are talking about a movie with a very low-budget production (but which curiously brings together three countries, which are responsible for the co-production of the entire project: the United Kingdom, Ireland and the Czech Republic) and which takes place almost entirely within a single setting: a car (in motion) during a night... But which still manages to hold the audience's attention through the way the plot is built.

In the plot, we meet the couple (apparently in crisis) Maddie and Frank Finch. During the early hours of the morning, they are surprised by a disturbing call from Alice (their daughter with whom they don't seem to have a good relationship) claiming to have committed an accidental crime by running over a young woman in a wooded area outside the city. What follows is a frantic search by the couple for their daughter, as they try to create a solution to the chaos.

Collider

The events of the movie happen in real time, and this was a very assertive decision by the scriptwriters because it favors the atmosphere of tension, which becomes increasingly heavy as new elements are "added" to the crime scene. Literally, it's as if whoever is on the other side of the screen is also inside the car, feeling the despair that is "embracing" the couple, and forcing us to participate in the moral and ethical dilemmas that are emerging.

After a start where communication is purely nonverbal in its first few minutes, the main verbal communication takes place through a smartphone. Almost all the tension of the narrative is concentrated on this resource, because the parents maintain contact with their daughter through voice and make the scenario even more unsettling. However, betting on this subjectivity, the script forgot to be more expository regarding the accident (because everything remains very "vague").

365Filmes

Maddie and Frank are two opposite sides of the same coin. They both have the same goal (which is to save their own daughter), but they cannot communicate in an equivalent way because all their thoughts to solve the problem are totally divergent. This ends up becoming a kind of "mental catalyst", which makes us believe in different theories to explain what ends up being the real outcome of the plot (which bets on "poetry").

Not poetry in its literal sense (as it is commonly known), but rather, in the poetic freedom of creating a plot that brings folkloric elements into its context. However, despite its unexpected third act, the movie loses its strength because the elements that would justify its ending are mentioned throughout the script in very simple ways (to the point of being easily forgotten due to the superficiality of their narrative insertions), and with a careless aspect.

AP News

Hallow Road is the kind of movie that doesn't present you with an explained ending, opting to let each viewer create their own concept of what they watched. Babak Anvari has his good moments as a director (although everything was very simplistic, in a movie that is almost always very dark), but what he did best was to extract the interpretive quality of the duo Rosamund Pike and Matthew Rhys, who are very good on screen.

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CRÍTICA DE PELÍCULA: “La Carretera Interminable” (2025)

Sinopsis: Durante la madrugada, tras recibir una angustiosa llamada de su hija informándoles de que provocó un accidente de coche en circunstancias sospechosas, una pareja debe correr contrarreloj para intentar encontrar una solución (antes de que sea demasiado tarde) en medio de sus propios dilemas.

El poder del cine íntimo reside en el peso de las palabras en relación con las acciones en las que se pronuncian. Con un enfoque dramático basado en diferentes segmentos (los dos más destacados son el psicológico, con una inclinación estratégica hacia lo folclórico), esta película logra ser verdaderamente intrigante (a pesar de durar poco menos de 65 minutos) precisamente por la forma en que trabaja la comunicación verbal entre los protagonistas.

Técnicamente, hablamos de una película de muy bajo presupuesto (pero que curiosamente reúne a tres países, responsables de la coproducción del proyecto: Reino Unido, Irlanda y República Checa) y que transcurre casi por completo en un único escenario: un coche (en movimiento) durante la noche... Pero que, aun así, consigue mantener la atención del público gracias a la forma en que se construye la trama.

En la trama, conocemos a la pareja (aparentemente en crisis) formada por Maddie y Frank Finch. En la madrugada, reciben una inquietante llamada de Alice (su hija, con quien no parecen tener una buena relación), quien afirma haber atropellado accidentalmente a una joven en una zona boscosa a las afueras de la ciudad. A continuación, la pareja emprende una búsqueda frenética de su hija, intentando encontrar una solución al caos.

Los acontecimientos de la película se desarrollan en tiempo real, una decisión muy acertada de los guionistas, ya que favorece la atmósfera de tensión, que se intensifica a medida que se “añaden” nuevos elementos a la escena del crimen. Literalmente, es como si quien está al otro lado de la pantalla también estuviera dentro del coche, sintiendo la desesperación que los “embarga” y obligándonos a participar en los dilemas morales y éticos que surgen.

Tras un inicio donde la comunicación es puramente no verbal durante los primeros minutos, la comunicación verbal principal se produce a través de un teléfono inteligente. Casi toda la tensión narrativa se concentra en este recurso, ya que los padres mantienen contacto con su hija por voz, lo que intensifica la inquietud. Sin embargo, al apostar por esta subjetividad, el guion olvidó ser más explicativo sobre el accidente (ya que todo permanece muy “vago”).

Maddie y Frank son dos caras de la misma moneda. Ambos comparten el mismo objetivo (salvar a su hija), pero no logran comunicarse de forma equivalente porque sus ideas para resolver el problema son totalmente divergentes. Esto termina convirtiéndose en una especie de “catalizador mental” que nos lleva a creer en diferentes teorías para explicar el desenlace final de la trama (que apuesta por la “poesía”).

No se trata de poesía en su sentido literal (como se suele entender), sino más bien de la libertad poética de crear una trama que incorpora elementos folclóricos a su contexto. Sin embargo, a pesar de su inesperado tercer acto, la película pierde fuerza porque los elementos que justificarían su final se mencionan a lo largo del guion de forma muy simple (hasta el punto de ser fácilmente olvidados debido a la superficialidad de sus inserciones narrativas) y con una actitud descuidada.

La Carretera Interminable es el tipo de película que no ofrece un final explicado, optando por dejar que cada espectador cree su propio concepto de lo que ha visto. Babak Anvari tiene sus buenos momentos como director (aunque todo resulta muy simplista, en una película que es casi siempre muy oscura), pero lo que mejor hizo fue extraer la calidad interpretativa del dúo formado por Rosamund Pike y Matthew Rhys, quienes están muy bien en pantalla.

CRÍTICA DE FILME - “Hallow Road: Caminho Sem Volta” (2025)

Sinopse: Durante uma madrugada, e após receberem a ligação angustiante da filha relatando que causou um acidente de carro em circunstâncias suspeitas, um casal precisa correr contra o tempo para tentar encontrar uma solução (antes que seja tarde demais) em meio aos seus próprios dilemas.

O poder do cinema intimista está no peso das palavras diante de todas as ações as quais elas são proferidas. Trazendo uma abordagem dramática que é pautada em diferentes segmentos (sendo os dois mais fortes o lado psicológico, com uma inclinação estratégica para o lado folclórico), este filme consegue ser realmente intrigante (ainda que tenha pouco menos de 65 minutos de duração) justamente pelo modo como ele trabalha a comunicação verbal entre protagonistas.

Tecnicamente, estamos falando de um filme com uma produção de baixíssimo orçamento (mas que curiosamente traz a “fusão” de três países, que são responsáveis pela co-produção do projeto inteiro: o Reino Unido, a Irlanda e a República Tcheca) e que acontece quase que totalmente dentro de apenas um único cenário: um carro (em movimento) durante uma noite... Mas que ainda sim, consegue prender a atenção do público pelo modo como a trama vai sendo construída.

Na trama, nós conhecemos o casal (aparentemente em crise) Maddie a Frank Finch. Durante uma madrugada, eles são surpreendidos por uma ligação perturbadora de Alice (filha com a qual eles parecem não ter um bom relacionamento) afirmando ter cometido um crime acidental ao ter atropelado uma jovem em um bosque afastado da cidade. O que se segue a partir daí é uma busca frenética do casal pela filha, enquanto eles vão tentando criar uma solução para o caos.

Os eventos do filme acontecem em tempo real, e essa foi uma decisão muito assertiva do roteiro porque ela favorece o clima de tensão, que vai ficando cada vez mais pesado à medida em que os novos elementos vão sendo “adicionados” a cena do crime. Literalmente, é como se quem está do outro lado da tela também estivesse dentro do carro, sentindo o desespero que está “abraçando” o casal, e nos forçando a participar dos dilemas morais e éticos que são emergindo.

Depois de um início onde a comunicação é puramente não verbal nos seus primeiros minutos, a principal comunicação verbal acontece através de um smartphone. Quase toda a tensão da narrativa está concentrada nesse recurso, porque os pais mantêm contato com a filha através da voz e fazem o cenário ser ainda mais inquietante. No entanto, apostando nessa subjetividade, o roteiro esqueceu de ser mais expositivo em relação ao acidente (porque tudo fica muito “vago”).

Maddie e Frank são os dois lados opostos de uma mesma moeda. Ambos têm o mesmo objetivo (que é salvar a própria filha), mas não consegue se comunicar de uma maneira que seja equivalente porque todos os seus pensamentos para resolver o problema tão totalmente divergentes. Isso acaba se tornando uma espécie de “catalizador mental”, que nos faz acreditar em diferentes teorias para explicar o que acaba sendo o real desfecho da trama (que aposta em “poesia”).

Não a poesia no seu sentido literal (como é comumente conhecida), mas sim, na liberdade poética de criar uma trama que traz elementos folclóricos no seu contexto. No entanto, apesar do seu terceiro ato inesperado, o filme perde à sua força porque os elementos que justificariam o seu final são mencionados ao longo do roteiro de maneiras bem simples (a ponto de serem facilmente esquecidos pela superficialidade de suas inserções narrativas), e com aspecto desleixado.

Hallow Road: Caminho Sem Volta é aquele tipo de filme que não te apresenta aquele desfecho explicado, optando por deixar cada telespectador criar o seu próprio conceito sobre o que foi assistido. Babak Anvari tem seus bons momentos como diretor (embora tenha sido tudo muito simplório, num filme quase sempre muito escuro), mas o que ele fez de melhor foi extrair a qualidade interpretativa da dupla Rosamund Pike e Matthew Rhys, que estão muito bem em cena.

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Movie · on My Dear Miss Aldrich
My Dear Miss | A Story of Intersexuality- Mi querida señorita | Una historia de intersexualidad
Welcome 💖 Bienvenidos

English Version

This is a 2026 Spanish film, distributed by Netflix and based on a 1972 film of the same name inspired by a true story. It is a romantic drama, but focused, in my opinion, on psychological drama, which is more reflective, as it explores the character’s inner traumas and conflicts and serves to make the viewer think, to reflect on the plot and the crux of the story, and to draw some positive lessons for their own life.

The plot of this film deals with a rare and at the same time controversial topic; it is about intersexuality and not about gender identity; these concepts should not be confused. Intersexuality encompasses various physical conditions related to reproductive organs, hormones, and chromosomes; it is a biological phenomenon and is strictly related to a person’s physical or bodily characteristics, unlike gender identity, which refers to how people internally identify as male, female, or other.

The protagonist is Adela, a 26-year-old woman living in a city in Spain; she is an only child and was raised by a family with traditional values; she is demure, shy, and works as a teacher and catechist; at first, she even gives the impression of being a nun or having a religious inclination.

> > Adela goes through a crisis upon discovering a family secret linked to her birth, which triggers the entire process of rediscovering her body and her self-image. It turns out that, despite being 26 years old, she had not developed, had never menstruated, and decided to see a gynecologist for the first time; this need to know what was happening to her body led her to experience a tense and distressing moment with her mother, who was categorically opposed to this medical examination; it is then that she discovers she has male internal genitalia. > > Of course, before learning about her intersex status, Adela—who identifies as a woman—felt confused about her sexual orientation. She hadn’t had any romantic encounters with anyone, but she begins to develop feelings for her grandmother’s therapist. She didn’t understand what was happening, and, of course, that caused her pain and confusion. > > I also felt just like Adela throughout the entire movie 😁🤣; I was intrigued from start to finish, because I was confused by the actress or actor playing the character of Adela; I could never quite figure out their gender: sometimes I thought they were a woman with very masculine traits, like their height and build, and other times I thought they were a gay man because of their so-well-executed feminine mannerisms. It seemed almost impossible to me to believe that an actor would make those feminine gestures, glances, and expressions just for a character. So I couldn’t tell for sure whether Adela was a man or a woman in real life. > >
> > I was so intrigued after finishing the movie; I looked up information about the lead actress, and her name is Elisabeth Martínez, an intersex actress. As for the film, I think it’s very difficult for parents to make decisions that shape their children’s lives without knowing the consequences, and for intersex children, it must be very hard to try to fit into a world with two polarities: male and female. > > I learned a lot from this film and feel more empathetic toward people; I recommend watching it with an open heart, without judgment.
Es una película española del 2026, comercializada por Netflix y basada en otra película homónima de 1972 inspirada en una historia real, del género romance y drama, pero enfocado según mi percepción en el drama psicológico que es más reflexivo, ya que explora los traumas y conflictos internos del personaje y sirve para hacer pensar al espectador, para que medite sobre el argumento y nudo de la historia y pueda sacar alguna experiencia positiva para su propia vida.

El argumento de esta película es un tema poco común y a la vez controversial, trata sobre la intersexualidad y no sobre identidad de género, no se debe confundir estos conceptos. La intersexualidad abarca el significado de varias condiciones físicas relacionadas con los órganos reproductivos, las hormonas y los cromosomas, es algo biológico y está relacionado estrictamente a las características físicas o corporales de una persona a diferencia de la identidad de género que es como las personas se identifican internamente si hombre, mujer, entre otros.

La protagonista es Adela una mujer de 26 años que vive en una ciudad de España, es hija única y fue criada por una familia de costumbres tradicionales, ella es recatada, tímida y cumple funciones de profesora y catequista, incluso al principio da la impresión de ser monja o con esa inclinación religiosa.

Adela pasa por una crisis al descubrir un secreto familiar que está ligado a su nacimiento y es lo que desencadena todo el proceso de redescubriendo de su cuerpo e imagen personal, resulta que aun con 26 años no se había desarrollado, nunca había menstruado y decidió acudir a un ginecólogo por primera vez, esta necesidad de saber qué pasaba con su cuerpo la llevó a vivir momento tenso y de angustia con su madre quien se oponía rotundamente a este chequeo médico, es allí cuando descubre que tenía internamente genitales masculinos.

Por supuesto antes de tener el conocimiento de su intersexualidad Adela quien se percibe como mujer se sentía confundida con su orientación sexual. No había tenido acercamientos románticos con nadie, pero comienza a sentir cosas por la terapeuta de su abuela. Ella no entendía qué pasaba y por supuesto eso le trajo dolor y desconcierto.

Yo también me sentí como Adela durante toda la película 😁🤣, estuve intrigada desde el principio hasta el fin, pues me confundía la actriz o actor que protagonizaba el personaje de Adela, nunca supe definir su sexo, a veces pensaba que era mujer con características muy masculinas como la altura y su corporalidad otra veces pensaba que era un hombre homosexual por sus gestos femeninos tan bien logrados. Me parecía casi imposible creer que un actor hiciera esos gestos, miradas y expresiones femeninas solo por un personaje. Así que no pude saber con exactitud si Adela era hombre o mujer en su vida real.

Cómo quedé intrigada al terminal de ver la película, busque información sobre la protagonista y su nombre es Elisabeth Martínez, actriz intersexual. En cuanto a la película creo que es muy difícil para los padres tomar decisiones que marcan la vida de sus hijos sin saber las consecuencias, y para los niños intersexuales debe ser muy duro intentar encajar en un mundo con dos polaridades, Masculino y femenino.

Aprendí cosas en esta película y me siento más empática con las personas, recomiendo ver esta película con el corazón abierto sin juzgar.

_{Cover image created by me with canva Source with resources from imdb}
e imagen de imdb
Translated and formatted with Deepl Translate

CREDITS	SOURCES
Cover, Banners and Separators:	Canva.
Traslated by:	DeepL Translate.
Character Art by:	Ushiro Snow
Character Created by:	Bing Image Generator.
Markdown Tool:	Hive Studio.

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Personally, I give it a rating of 8.5/10 in terms of the psychological thriller, mystery, and drama genres.

Personalmente, le doy una calificación de 8.5/10 en lo que respecta al género de suspenso psicológico, misterio y drama.

Tell me, have you seen this movie yet? What did you think of it? Feel free to leave your thoughts in the comments.

Dime, ¿ya has visto esta película? ¿Qué te ha parecido? Puedes dejarme tu respuesta en los comentarios.

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By: Nattosheru.

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