NinadeL

Overall, a wonderful to excellent triptych on the theme of the backstage of the Prague National Theater opened with this chapter from the aftermath of the fire. It is necessary to admire and educate yourself in a non-violent way and quickly move on to the next episode! There is no other way.

A charming co-production melodrama, which is carried entirely by the tender performance of the beautiful Jana Brejchová. I have a soft spot for Jana, and I can understand the civil story of a young marriage based on the (un)practicality of two artists. But what is also really interesting is the attractive co-production with Hungary. And it is simply a small miracle to see Jana carefully representing Czechoslovakia in cooperation with the USSR, East Germany, West Germany, Austria, etc. She never had a great international career, unfortunately, but it's an interesting overview. Now I find myself still longing for another Hungarian film with Jana, after Recovery, and then hopefully I'll be satiated.

Tragic Monday offers a truly intense viewing experience. Vošmik works very well with the child actors, while the adults have the opportunity to act out separate stories that in other hands would require a whole series of melodramatic films. Tragic Monday is a film of a similar ilk to Conscience in that it is suffocating through every minute of it. It's really up to you whether you want to indulge in such an experience.

I waited a very long time for a screening of Birth and it was worth it. Some topics really require you to be more mature. The inner world of a woman who was widowed in an instant was another strong challenge for Nicole Kidman's acting. Some emotions and feelings cannot be suppressed, love cannot be made to disappear, and sometimes even a lifetime is not enough for the soul to recover... The fragile condition that needs to be cared for is thus a daily reality and day by day it becomes more and more difficult to cope with the reality. A strong theme.

Colette isn't a bad film, but I prefer Cieslar's earlier encounters with WWII. Theoretically, I should be burning for anything with Lustig's signature, but unfortunately, his themes tend not to work with the film's overall context. Of the recent competitors, I appreciated In Silence more.

Despite the fact that I'm not very familiar with French films and their mentality in general, and that I'm far from being in tune with everything that appeals to the classic attributes of the land of the Gallic rooster, I consider 3 Hearts to be very good. It’s an absolute melodrama with very believable emotions, and it's the kind of thing that you don’t see very often. Yet such are also the winding paths of the heartland.

A functional thriller with a very good lead pair. Nicola's character is so nicely sculpted by the interesting script, her emotions, and her stylization in shades of blue that it is almost unbelievable that she represents a white African woman. Madame Australia has a truly broad range.

The new pairing of Nicole Kidman and Colin Firth was already proven to work in The Railway Man. And this is their second project together. It’s a nice intimate thriller with an interesting denouement. Sometimes less is more. I look forward to seeing them next alongside Law in Genius.

It’s a level better Polski film, this time in a version with French, Munich, and the very beautiful Prague. While I personally don't find it necessary for films like this to be made, I would leave it to the next generation to evaluate them, because I understand that if you fall in love with Day for Night, then you have to act.

The second film is as dumb as the first one, but we do get Amell (Arrow fans will applaud), the Technodrome with Krang (I'll applaud) and that's it, because Bebop and Rocksteady are really badasses who belong only in cartoons.