Author: admin

Dir. Phil Lord & Christopher Miller


⭐️⭐️1/2

⚠️Spoilers ahead⚠️

This new science-fiction film follows Grace, a scientist who finds himself alone on a spaceship to save Earth from freezing to extinction.

The creative camera work, daring colours, and detailed production design are the clear standouts. The way the camera movements are used not only to transition from the present to the past, but also to convey the character’s mental state, is marvellous. It also has some undeniable heart-warming moments, especially when Grace is first connecting with Rocky, the alien he meets, over their shared loss.

However, its stunning technical aspects might not be enough to make it the instant classic everyone’s making it out to be.

The story structure and rhythm feel clunky; when you think it is over, there is a new twist. This leads to it having essentially three different endings and no real, satisfying climax. There are promising ideas presented, but they are killed off in uninspired ways before they can turn into anything special. For example, having Grace’s alien friend Rocky’s native language translated into English through a computer, which, by the way, isn’t how translating works. You can’t just say a word in your language to someone who doesn’t understand it and then label whatever random word they say in their own language as their word for what you said. It could be more compelling and creative if they go with them using math to communicate, or have them learn each other’s language in a realistic way. As the film goes on, the scientific explanations also go from believable to nonsensical, like how we are constantly reminded that Rocky will die in air with oxygen, but then he somehow survives it later in the film…

Finally, the characters’ psychology is barely explored in depth. For example, there could be more background as to why the protagonist doesn’t want to go to space, or why he has such a conformist attitude even though he clearly has so much to offer. Another case is the woman leading the mission, played by Sandra Hüller. We barely discover anything about her. She has interesting character moments, like when she karaokes the Harry Styles song, or when the seriousness of the situation forces her to send Grace to space against his will, but they are never expanded on. The main focus of the film is clearly the humour, which I have nothing against. The comedy isn’t exactly the most original out there; it moves between light-hearted and annoyingly cheesy. It could hit harder if there were just a stronger emotional backbone to sustain it.

In conclusion, besides its misleading trailer that presents it as much more serious than it is, I don’t consider it a bad film at all—it is entertaining and has amazing visuals—but I think the public’s overly positive reaction has been a little much for what the actual material is.

Dir. Aidan Zamiri


⭐️⭐️⭐️⭐️

Charli XCX’s The Moment follows a rising pop star dealing with the process of creating her tour.

It’s not what I expected.

For context, I’m a big fan of Charli’s, so I was obviously very excited for this film. I really wished to be obsessed with it, but that didn’t happen.
I can’t say I hate it. I mean, I gave it 4 stars, so I obviously didn’t. It’s actually more of a 3-star film, but I simply can’t feel that because my love for Charli and Brat won’t let me.

The main issue I had as a viewer was that it felt off. But why?

First, it was confusing. For example, I got really hyperfixated on the characters’ roles in the making of Charli’s tour in the film. I couldn’t understand how Johanes (the concert film director) somehow took over the whole show. Isn’t he supposed to just film the already-made concert?

The writing could have been stronger overall; maybe this is the big problem. It was built on a script that wasn’t well executed. The build-up to the big moments weren’t perfectly hitting, and the overall rhythm of the story beats was uneven. The camera work is a bit confusing at times as well, especially at the start—I didn’t know what was happening.

The genre. Why is it a mockumentary? They never explain it. At the start, you think it might be the concert film they are talking about. However, it’s not. It’s like there’s a concert film and a documentary, but the characters never mention the latter.
 It also wasn’t that funny, more amusing than anything. I can’t really trust myself on that because I lack a sense of humour in films.


The film definitely got stuck in between satire and psychological drama. They should have probably picked one, because those two are kind of contradicting—if not balanced right, of course. Maybe they should have taken a page from Opening Night, a psychological drama set in a slightly absurd space (for the general public at least).That tone could have worked a lot better. Especially given that the most memorable, striking moments were the emotional ones: Charli’s multiple breakdowns or the sections where music was the main focus.

The themes. There is a lot The Moment wants to say, but it doesn’t really say it. Like, I could tell you what it wants to say from all the Charli and Aidan Zamiri interviews I’ve watched, but from the film alone… not quite as much. If I stopped to dissect it like a dead frog, I could tell you, but films are supposed to be alive enough to convey it. 
It is obviously very interesting for a pop star to do this—the exploring of what could have happened to Brat if taken in a different direction. But at the end, I’m kind of left with “why is it relevant?” It’s a nice exploration, but I don’t see the purpose, nor the meaning. The film could have gone in many directions, but this one just wasn’t really the best one, considering the interesting premise it presented.

The worldbuilding. One final critique I have to make is that Charli XCX said this was a “2024 period piece,” but it didn’t really feel like that. There are not many locations—really just the Ibiza hotel, the car, and the tour practice place. So it felt kind of… small. Yes, there was the “Protect the Dolls” T-shirt, but where was Julia Fox? And Gabriette? What about other pop stars rising at the time? Maybe there could have been more locations, or shots looking out the window in the car? More of LA? It didn’t fully feel like the moment it was.

On a more positive note, I loved the color grading. And, of course, the flashing lights—so cool. The performances were great for the material. Charli was phenomenal, and the scenes where she is kind of losing it are gold. The shots and the editing in those sequences are also standouts. I especially liked the scene with Kylie Jenner; there’s a lot of subtext to it on relationships in the industry. The makeup and costumes are also great—it’s cool to see different aesthetics used for the Brat concept. There were little moments where we got to see the inner workings of a pop star’s mind, but I wish it would have been a bigger part of the film.

In conclusion, I can totally see what they were going for with the film, but I don’t think the story told supported the vision behind it. If they had sat with it a bit longer, it could have been a lot better.

Okay, this sounds like I absolutely hated it. Maybe The Vampire Diaries has toasted my brain and I’m less emotionally attuned. It just wasn’t everything it was made up to be. Sorry.

I’m still keeping the 4 stars, though.

💎 dir. Emeric Pressburger & Michael Powell



To be great or to be loved. 



Victoria Page must choose between being a great ballerina or romantic love. Only one.



Ballet isn’t just a profession, it’s another lover, one that demands just as much devotion as its human counterpart. Like any passion, it demands life — it can be taken in the passing of a train, or nurtured into greatness, where love is requited, even if only for an instant.



Is there room in one body for two loves so big? Can the space be shared without the heart breaking into ribbons?



. ݁₊ ⊹ . ݁ ✩ ݁ . ⊹ ₊ ݁.



a little fragment before festival week ♡ i love this film dearly yet, i hope it doesn’t have to be like this

Dir. Ariane Louise-Seize


⭐️⭐️1/2

The story follows Sasha, a vampire who doesn’t want to feed on people but finds a solution when she meets Paul, a teenager with suicidal tendencies.

It sits between comedy, horror, and coming-of-age genres. Not quite hitting the mark in any of them, the final product is bland. While it does have an original premise for a vampire movie, the slightly pretentious title spoils it before even pressing play.

The main issue is the lack of real stakes. While Sasha might die of hunger if she doesn’t feed, it isn’t given enough importance to create tangible tension. This could be fine, but the film has minimal dialogue and doesn’t offer anything interesting emotionally in return. As a result, the story becomes stale.

However, it does have a beautiful use of color and lighting, accompanied by an equally captivating synthy soundtrack by Pilou. There are also some memorable moments, like the record player scene or the “Drácula Yé-Yé” needle drop in the final part. The sound design is the standout for me: crisp, immersive, and surprising. Sara Montpetit, who plays Sasha, gives a subtle yet noteworthy performance.

Overall, this picture gives the impression of a short film that was stretched into a feature. There were gleams of iconicity, but Louise-Seize chose to play it safe. Too much so. If only it had been pushed further – perhaps by leaning more into camp or providing a tighter emotional framework. While it is undoubtedly charming, unique and brings some lighthearted comfort, I just expected – and wanted- more.