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Editor'S Choice - 2024

Best of the year: Stanislav Zelvensky advises horror about love

2015 IS FITTING THE END. It would not be an exaggeration to say that the year turned out to be saturated, including culturally. To dot the “and” and make sure that nothing important had passed by, we asked experts in various fields to tell about the brightest books, films, albums and other cultural events. In the ninth edition, film critic and legendary columnist for Poster Stanislav Zelvensky talks about the brightest films of the year and especially recommends the romantic horror, about which few people have heard, but in vain.

Stanislav Zelvensky

film critic

In my opinion, the main feature of this year is that there were certainly significant, grand films. I don’t remember that. There were some good ones, even good ones, but, in principle, the person who had been jigsawing all year round or, say, watching TV shows, didn’t lose much (except time for TV shows). The only film that has united everyone - and which is decisive in all the top 10s from Cahier du Cinéma to Young Leninist - is Mad Max. With all the love for him, it is still strange. As a result, the enthusiasm that has accumulated over the year is now being spent on Star Wars, which is touching, and a little sad, of course.

As for the conditionally author's cinema (although “Max”, of course, is also an author’s), no major author jumped above his own head without thinking. This, in particular, is indirectly indicated by the results of Berlin, Cannes, Venice, etc. Among the so-called prestige pictures of something exceptional that goes out of the ordinary is also not visible: I predict total fragmentation and triumph of randomness on Oscar. However, all this does not matter, in large numbers remain small meaningless joys. Less is better.

Here, for example, a very nice picture "Spring" - some thirty-year-olds took it for modest money, one seems to have the last name Motorhead. This is such an adolescent scary romantic plot: a young American who has a crisis on all fronts, flees to Italy, drinks, gets a job at a farm, and falls in love with a prominent brunette. And the brunettes periodically crawl out the tentacles from different places, she eats cats and all that. Good dialogue, albeit in some places a bit pretentious. Great main characters, especially he. Properly filmed - beautiful, and without beautiful. Cheerful, fresh, in all respects an attractive movie. In general, this analogy, I'm afraid, is used by absolutely everyone who talks about the film - it's about as “Before Dawn”, only the girl is not French, but a monster. Well, Lovecraft has the root "love" for good reason.

Watch the video: BEST OF THE YEAR, SO FAR! (March 2024).

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