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Reviews
Couleurs de l'incendie (2022)
Classic in a good way.
Classic in a good way. Greed, ambitions, treachery, suggestible men and vengeful women, French aristocratic opulence. Fornication, adultery, under-the-table deals and the start of the Holocaust. But also a love that stubbornly makes its way, always as a background story line and yet - always primary. Love of a mother for her son, of an aging prima to a young admirer, of a child for the first muse of the heart, of a personal assistant for a confidante whom she understands without the need for words. Despite all the thrill of the games of the great, from the skill of the calculating and the size of their bet, despite all the dizziness from the refined sets, postures and manners, for me we are talking about a film sewn from this same love. The French are adept at portraying her with understatement (remember "Red and Black"), and her almost imperceptible traces are tiresome, but precisely because of this, where they are, the feelings are saturated to the extreme. A short sign, a long moment, and an unspoken yes that outlives time-that's the bait I'll always fall for.
Black Stone (2022)
It weighs in place. Like a stone.
If I could describe this movie in one word, it would be: truthful. Everything, everything reminded me of the life of an ordinary old lady in Bulgaria. The blankets, the stew, the basma dress, the notorious hospitality, the stirring emotions that are never an excuse to turn your back on weekday rituals. The only difference - that "Grandma Milka" was called "Kira Herula". But her heart also clicked softly, when she heard the news. First she resolutely spat it out of her, then she willingly shut up. Herula didn't give up, didn't slam dramatically, she just broke off a piece of herself and threw it into the sea like a heavy black stone. And when the bone in her throat grew to a fish, threw himself after him. But Panos, can we blame him? That he doesn't "like china and encyclopedias"? That the napkins and the civil service come to him in excess? That he managed to wring a happy melody from the blackness? However, since the invalid Leuteris carries freedom in his name, Panos is right to flee from the everyday to fulfill his ancestral destiny. That doesn't stop his eyes from filling with tears as soon as he thinks about his mother. And it doesn't hurt to make a ramp for his brother from the old table tops. Authentic sympathizers and "well-wishers", authentic human pain, beautiful film. It weighs in place. Like a stone.