Im Keller sells itself as a documentary, however there’s an element of staging to it that can’t be denied. There aren’t any actors involved. The protagonists aren’t fictional characters; they appear to be appearing as themselves. Or at least, some version of themselves.
⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️ What I’m sure of is that I’ve watched a very good, even great film which delivers an authoritative commentary on existentialism, while also serving as an effective satire on the concept of fame, even if the language it uses to communicate is stilted and rough round the edges. Catch La Dolce Vita at the Eden Cinemas on the 9th and 13th of August. Two shows only!
A 35c review of Matteo Garrone's Pinocchio (2019)
I was lucky to be able to catch Io Sono Li in (what’s left of) our Royal Opera House in Valletta. It was screened as part of the Pjazza Kino Festival last Friday 25th. In the same festival, two other nautical-themed films were shown Kon-Tiki (2012) and The Deep, (2012). The festival was curated by Rebecca Cremona, who also directed and co-wrote... Continue Reading →
OUR FASCINATION WITH CINEMATIC SEX MIKIEL REVIEWS LARS VON TRIER’S SEX EPIC NYMPHOMANIAC, CURRENTLY SHOWING AS ONE OF THE SIDE STREET FILMS AT EDEN CINEMAS, AND ASKS WHETHER THE FINAL CHAPTER IN HIS DEPRESSION TRILOGY DELIVERS. I’ve no doubt that right now you’re most probably indignantly frowning at your screen damning my sick, insolent mind... Continue Reading →
The Tin Drum (Die Belchtrommel) (1979) can easily be considered a war film – although most of the battles occur between internally between Oskar (David Bennent) and the rest of humanity. While most of what happens in the film is allegorical, the imagery is sometimes too powerful to permit the viewer to read beyond the symbolism. The... Continue Reading →
Today I reflect on Antichrist (2009) and Lars von Trier's filmic relationships with women.
35c 