NinadeL

I think "Carrie" was the first King book I read, and as such, it hit me hard. The fascination with blood, the mother being a religious fanatic, and the text written like a report after a disaster all fit together nicely. In contrast, the original adaptation with Sissy Spacek is rather unnecessarily brutal and nowadays you can't even appreciate the youthful Travolta. The new Carrie is very much a fairy tale again, at least in terms of Carrie's ability and understanding of telekinesis, while Julianne Moore feels like she’s out of another movie, but she's very nimble on her own. The result is nonetheless entertaining, but the ending is purely for effect. So if I had to pick one Carrie that is the one, paradoxically, the TV version with Angela Bettis is still the best.

The poster for the film is very confusing and it's clear to me that most people expected something a little different from Menzel. But on the other hand, I'm very glad that this is not another allegory for the lost loves of the summer of 1968, but the main theme is the opera scene in a small town. I must be getting old, but I didn't find anything downright objectionable about this. Hartl, Huba and Šafránková live their characters quite naturally, Menzel enjoys staging a small-town "Don Giovanni" in a newly discovered Baroque theater, and every now and then an inspirational breast is smuggled into the frame. Apparently, I'm on a drug called "Opera is fun."

Paradoxically, this is one of the most interesting documentaries from the #snowfilmfest series, but also one of the most clichéd. The Czechs simply wanted to swim in Svalbard and they prepared themselves in the Czech Republic. Just at the finish line they found an old Czech magazine and reminisced about the good old days under the Soviet Union. I had respect for the Slovak polar explorer, but I had a lukewarm feeling about this hobby.

An eye candy solution to the schematism around 1968 and the affair of French cinema. Fortunately, more important than Henri Langlois is the knowledge of films with Greta Garbo and Marlene Dietrich, and the application of cinematic pleasure to domestic orgies. So you feel like masturbating in front of a picture from Blue Angel? Enjoy and forget about Godard.

So what makes The Last Bohemian interesting? It’s a study of the transformation of Hašek into his own literary hero. Through his character, Rašilov undergoes several distinct transformations from a bohemian writer who is unable to support his own child and pretends to be his mere uncle, but at the same time manages to entertain the entire hangout with his own singing repertoire, becoming a brilliant fabricator and circus performer... and then the obligation to enlist strikes. Rare is also the prominent role of Jan Richter, an actor from Burian's theater, and the beginnings of the delightful salon actress Trudy Grosslichtová, whose governess character forms an ideal bridge between Hašek the revolutionary and Hašek the bohemian - he needs some income after all - and is therefore able to accept from the position of the writer on the pavement a place in "better society," but one in which the head of the family is an old general wearing the face of Anna Švarcová, which would provoke everyone to revolution.

Few would have said about the model-faced AnnaLynne McCord that after a few series, it would be time for her to play some of those human monsters, too. AnnaLynne is super sexy in Nip/Tuck, 90210, and Dallas, but along with all those perfect beauties with hearts on their sleeves, she's also Pauline - a teen with a blood fetish who not only doesn't look attractive, she acts like a total retard and no one would even lean a bike on her at school. Yet even with this appearance and total outsider behavior, the lovely Pauline will achieve all the goals she has set for herself. Whether it's losing her virginity during menstruation or getting spare organs for her sister. And of course, we have the great famous former actress Traci Lords as her mother. It couldn't be more ironic than this.

Coco Before Chanel is paradoxically perfectly complementary to the film Coco Chanel & Igor Stravinsky because it deals with exactly the period in Gabriela's life before Igor. And Audrey Tautou her a face to the version of Coco who was still a nobody, still an independent young lady stifled by the conventions of Art Nouveau society. She wasn't somebody yet, but she knew that she could achieve success by associating with the right men. Gabriela was very smart and in retrospect it seems she was emancipated as well, but she just always wanted to be independent.

Coco Chanel & Igor Stravinsky is an absolutely perfect love affair based on a joint chapter from the biographies of two outstanding personalities of the early 20th century. Coco is a true Ford woman in her twenties, and she loves all colors, especially if that color is black. She has refined taste, is emancipated, hardened by the death of her first great love, and she is in such a position that she can afford to support Igor Stravinsky's entire family. While she is developing his most famous perfume, Chanel No. 5, Stravinsky finds himself between two premieres of "The Rite of Spring." He still feels the bile from the failure of 1913, but now in the newly revived post-war society (and thanks to Coco) his work is finally meeting with the success it deserves. What could be spicier than casting the animalistic Mads Mikkelsen as Igor and giving him the androgynous Anna Mouglalis as Coco?

He and his social commentary, or He and his defiance of sound film. Anyway, I'll never forget the parallel with The World Belongs to Us because to see this Chaplin project through the eyes of V+W after they finished their own spectacle on the theme of the modern age would depress anyone.

There are some beautiful ideas here. From today's point of view the late Art Nouveau imagery is indeed extremely archaic, but who would have the heart not to appreciate an ice giant and constellations depicted with the help of only lightly dressed models?