Dizibox Movies of the year
The most courageous movie twist of the year is clearly hidden from the time of German King Christian Petzold's art: Although faithfully based on a novel written and set during World War II, the film is shot in modern Marseille, nothing can be done to create a timeline.
The result is a funny, sad love affair set somewhere between lo-fi and sci-fi-throwing is also a summary of today, using the current European refugee problem to do the horrors of the past (and vice versa). It’s a sophisticated, fast-paced, clever movie, and after Barbara’s one-and-a-half boxing injury, it makes a case for Petzold as the tenth most iconic actor in the country house. —Adam Nayman Like Dan, the lead character in Aster's second film,
I also spent my summer in Sweden. A beautiful country, famous people, a peaceful peace in the whole country -
a perfect place to go crazy. Aster is an infamous filmmaker, a cruel, humorous creator of a tragic situation and a never-ending fear. His first film, a surprise hit by Hereditary, was heavily linked to a family from hell.
Midsommar extends, to a hidden valley in Sweden by certain ancient practices - er, barbaric -. Runic landmarks and polygon temples and floral stones give the film a spectacular signature and nauseous power — the city is hell in broad daylight,
The Truly Bad Place. American Rugs who travel, hoping for sex and academics, pay the price for their pride in tourism.
But apart from mass murder and political hatred, Midsommar is a movie about ignoring what is right in front of you - taking a partner lightly or refusing to look at your glamorous desires. It can make a double element of helluva with a
Marriage Story, or The Souvenir.
Remember: Love the one you have. -Sean Fennessey Throwing back, I guess? Not well. Rian Johnson’s re-enactment of Agatha Christie whodunits ’reconstruction has a tone unlike anything I’ve seen recently: wry, zness, and relentless. It is one of the purest pleasures of the year for movie viewing, to its most satisfying and complete needle drop. Knives Out has been recommended for classroom insults,
but instead of a single message, I found a comedian throwing metal blades on all sides: on the right trolls, on Instagram influencers, on true obsessives, and even on clever detectives stationed in the New Yorker.
Johnson compiled an authentic gallery of contemporary rogues' traditions - Captain America, Laurie Strode, James Bond, Yoda, Darius of Atlanta, 13 Reasons
Why, and Sonny Crockett - and put them on each other's necks for two hours. What could be a better metaphor for cultural exploitation in 2019 than that? —Fennessey Art, a poetic touch revealed by French
director Mati Diop in his first program carries echoes of his colleague Claire Denis; like Denis’s Trouble Every Day, Atlantics incorporates cultural metaphors into horror movie scenes, not deceiving the audience so much to show the strength of the genre itself. Reportedly lost at sea on a dangerous voyage to Spain, a group of Senegalese workers had the bodies of women left behind to take revenge
on their more expensive employers. Within this simple, supernatural arrogance is politically embedded,
while the deliberate blurring of gender lines puts a metaphor into the script imagery of sectarian warfare; it is a matter of unity, and of the empty people who are fighting against it. What’s more, Atlantics is also a love story, ending with a bizarre sequence that is almost as hard to watch — but impossible to take your eyes off. - Nayman
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