tag:blogger.com,1999:blog-40085585912413816892024-03-15T17:49:11.142+01:00Facing the Bitter TruthFilmrezensionen und -artikel von Alan Mattli.Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.comBlogger1125125tag:blogger.com,1999:blog-4008558591241381689.post-52822630580905587752024-03-10T16:58:00.002+01:002024-03-11T12:53:40.625+01:00"Facing the Bitter Truth"-Filmpreis 2023<p><span style="font-size: large;"><b>Bester Film</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b>Aftersun</b> von Charlotte Wells</li>
<li><b>Asteroid City</b> von Wes Anderson</li>
<li><b>La chimera</b> von Alice Rohrwacher</li>
<li><b>The Fabelmans</b> von Steven Spielberg</li>
<li><b>Fallen Leaves</b> von Aki Kaurismäki</li>
<li><b>Godzilla Minus One</b> von Takashi Yamazaki</li>
<li><b>Killers of the Flower Moon</b> von Martin Scorsese</li>
<li><b>Oppenheimer</b> von Christopher Nolan</li>
<li><b>Roter Himmel</b> von Christian Petzold</li>
<li><b>Saint Omer</b> von Alice Diop</li>
</ul><p>
<span style="font-size: large;"><br />
<b>Beste Regie</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b><i>Aftersun</i></b> – Charlotte Wells</li>
<li><b><i>Asteroid City</i></b> – Wes Anderson</li>
<li><b><i>Avec amour et acharnement</i></b> – Claire Denis</li>
<li><b><i>La chimera</i></b> – Alice Rohrwacher</li>
<li><b><i>Fallen Leaves</i></b> – Aki Kaurismäki</li>
<li><b><i>Killers of the Flower Moon</i></b> – Martin Scorsese</li>
<li><b><i>Saint Omer</i></b> – Alice Diop</li>
</ul><p>
<br />
<span style="font-size: large;"><b>Beste Darstellung in einer Hauptrolle</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b>Eke Chavleishvili</b> als Etero in <i>Blackbird Blackbird Blackberry</i></li>
<li><b>Lily Gladstone</b> als Molly Burkhart in <i>Killers of the Flower Moon</i></li>
<li><b>Shah Rukh Khan</b> als Azad/Vikram Rathore in <i>Jawan</i></li>
<li><b>Guslagie Malanda</b> als Laurence Coly in <i>Saint Omer</i></li>
<li><b>Paul Mescal</b> als Calum in <i>Aftersun</i></li>
<li><b>Alma Pöysti</b> als Ansa in <i>Fallen Leaves</i></li>
<li><b>Jason Schwartzman</b> als Augie Steenbeck/Jones Hall in <i>Asteroid City</i></li>
<li><b>Tilda Swinton</b> als Julie Hart/Rosalind Hart in <i>The Eternal Daughter</i></li>
<li><b>Tang Wei</b> als Song Seo-rae in <i>Decision to Leave</i></li>
<li><b>Kōji Yakusho</b> als Hirayama in <i>Perfect Days</i></li>
</ul><p>
<br />
<span style="font-size: large;"><b>Beste Darstellung in einer Nebenrolle</b></span></p>
<p></p><ul>
<li><b>Paula Beer</b> als Nadja in <i>Roter Himmel</i></li>
<li><b>Robert De Niro</b> als William King Hale in <i>Killers of the Flower Moon</i></li>
<li><b>Merve Dizdar</b> als Nuray in <i>About Dry Grasses</i></li>
<li><b>Brendan Gleeson</b> als Colm Doherty in <i>The Banshees of Inisherin</i><br /></li>
<li><b>Ryan Gosling</b> als Ken in <i>Barbie</i></li>
<li><b>Guka Han</b> als Tena in <i>Retour à Séoul</i></li>
<li><b>Anthony Hopkins</b> als Aaron Rabinowitz in <i>Armageddon Time</i></li>
<li><b>Scarlett Johansson</b> als Midge Campbell/Mercedes Ford in <i>Asteroid City</i></li>
<li><b>Ghazal Shojaei</b> als Atefeh in <i>Until Tomorrow</i></li>
<li><b>Filippo Timi</b> als Giovanni in <i>Le otto montagne</i></li>
</ul><p>
<br />
<span style="font-size: large;"><b>Beste Voiceover-Peformance</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b>Riz Ahmed</b> als Ballister Boldheart in <i>Nimona</i></li>
<li><b>Ayo Edebiri</b> als April O'Neil in <i>Teenage Mutant Ninja Turtles: Mutant Mayhem</i></li>
<li><b>Daniel Kaluuya</b> als Hobie Brown/Spider-Punk in <i>Spider-Man: Across the Spider-Verse</i></li>
<li><b>Chloë Grace Moretz</b> als Nimona in <i>Nimona</i></li>
<li><b>Diana Rigg</b> als Erzählerin in <i>The Snail and the Whale</i></li>
<li><b>Masaki Suda</b> als The Grey Heron in <i>The Boy and the Heron</i></li>
<li><b>Alain Ughetto</b> als Alain Ughetto in <i>Interdit aux chiens et aux italiens</i></li>
</ul><p>
<br />
<span style="font-size: large;"><b>Bestes Schauspiel-Ensemble</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b><i>About Dry Grasses</i></b> – Ferhat Akgün, Yüksel Aksu, Elit Andaç Çam, Ece Bağcı, Onur Berk Arslanoğlu, Cengiz Bozkurt, Münir Can Cindoruk, Eylem Canpolat, Deniz Celiloğlu, Merve Dizdar, Musab Ekici, Yıldırım Gücük, Nalan Kuruçim, S. Emrah Özdemir, Erdem Şenocak, Elif Ürse</li>
<li><b><i>Asteroid City</i></b> – Adrien Brody, Steve Carell, Hong Chau, Bryan Cranston, Willem Dafoe, Hope Davis, Matt Dillon, Grace Edwards, Ella Faris, Gracie Faris, Willan Faris, Rupert Friend, Jeff Goldblum, Tom Hanks, Maya Hawke, Scarlett Johansson, Ethan Josh Lee, Sophia Lillis, Aristou Meehan, Edward Norton, Stephen Park, Tony Revolori, Margot Robbie, Jake Ryan, Liev Schreiber, Jason Schwartzman, Fisher Stevens, Tilda Swinton, Rita Wilson, Jeffrey Wright</li>
<li><b><i>Avec amour et acharnement</i></b> – Juliette Binoche, Grégoire Colin, Lola Créton, Richard Courcet, Mati Diop, Alice Houri, Vincent Lindon, Hana Magimel, Bulle Ogier, Issa Perica, Bruno Podalydès, Lilian Thuram</li>
<li><b><i>How to Have Sex</i></b> – Laura Ambler, Samuel Bottomley, Mia McKenna-Bruce, Daisy Jelley, Enva Lewis, Eilidh Loan, Lara Peake, Shaun Thomas</li>
<li><b><i>Knock at the Cabin</i></b> – Ben Aldridge, Nikki Amuka-Bird, Dave Bautista, Kristen Cui, Rupert Grint, Jonathan Groff, Abby Quinn</li>
<li><b><i>Oppenheimer</i></b> – Casey Affleck, Dylan Arnold, Macon Blair, Emily Blunt, Kenneth Branagh, Jason Clarke, Tom Conti, Matt Damon, James D'Arcy, David Dastmalchian, Dane DeHaan, Robert Downey Jr., Alden Ehrenreich, Tony Goldwyn, John Gowans, Scott Grimes, Jefferson Hall, Josh Hartnett, Gregory Jbara, Kurt Koehler, David Krumholtz, Rami Malek, Matthew Modine, Cillian Murphy, Gary Oldman, Florence Pugh, Benny Safdie, Matthias Schweighöfer, Gustaf Skarsgård</li>
<li><b><i>Roter Himmel</i></b> – Jennipher Antoni, Esther Ash, Paula Beer, Matthias Brandt, Jonas Dassler, Thomas Schubert, Enno Trebs, Langston Uibel, Marieke Zwart</li>
</ul><p>
<br />
<span style="font-size: large;"><b>Bester nicht-englischsprachiger Film</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b>About Dry Grasses</b> von Nuri Bilge Ceylan <span style="font-size: x-small;">(Türkisch)</span></li>
<li><b>Avec amour et acharnement</b> von Claire Denis <span style="font-size: x-small;">(Französisch)</span></li>
<li><b>La chimera</b> von Alice Rohrwacher <span style="font-size: x-small;"><span>(Italienisch, Französisch, Deutsch)</span><br /></span></li>
<li><b>Decision to Leave</b> von Park Chan-wook <span style="font-size: x-small;">(Koreanisch, Mandarin)</span></li>
<li><b>Fallen Leaves</b> von Aki Kaurismäki <span style="font-size: x-small;">(Finnisch)</span></li>
<li><b>Godzilla Minus One</b> von Takashi Yamazaki <span style="font-size: x-small;">(Japanisch)</span></li>
<li><b>Jawan</b> von Atlee <span style="font-size: x-small;">(Hindi)</span></li>
<li><b>Roter Himmel</b> von Christian Petzold <span style="font-size: x-small;">(Deutsch)</span></li>
<li><b>Saint Omer</b> von Alice Diop <span style="font-size: x-small;">(Französisch)</span></li>
<li><b>Suzume</b> von Makoto Shinkai <span style="font-size: x-small;">(Japanisch)</span></li>
</ul><p>
<span style="font-size: large;"><br />
<b>Bester Animationsfilm</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b>The Boy and the Heron</b> von Hayao Miyazaki</li>
<li><b>Interdit aux chiens et aux italiens</b> von Alain Ughetto</li>
<li><b>Nimona</b> von Nick Bruno und Troy Quane</li>
<li><b>Spider-Man: Across the Spider-Verse</b> von Joaquim Dos Santos, Kemp Powers und Justin K. Thompson</li>
<li><b>Suzume</b> von Makoto Shinkai</li>
</ul><p>
<br />
<span style="font-size: large;"><b>Bester Dokumentarfilm</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b>All the Beauty and the Bloodshed</b> von Laura Poitras</li>
<li><b>Anselm: Das Rauschen der Zeit</b> von Wim Wenders</li>
<li><b>It Is Night in America</b> von Ana Vaz</li>
<li><b>Matter Out of Place</b> von Nikolaus Geyrhalter</li>
<li><b>Las Toreras</b> von Jackie Brutsche</li>
</ul><p>
<br />
<span style="font-size: large;"><b>Bestes Originaldrehbuch</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b><i>About Dry Grasses</i></b> – Akın Aksu, Ebru Ceylan, Nuri Bilge Ceylan</li>
<li><b><i>Anatomie d'une chute</i></b> – Arthur Harari, Justine Triet</li>
<li><b><i>Asteroid City</i></b> – Wes Anderson, Roman Coppola</li>
<li><b><i>La chimera</i></b> – Alice Rohrwacher</li>
<li><b><i>Decision to Leave</i></b> – Chung Seo-kyeong, Park Chan-wook</li>
<li><b><i>Fallen Leaves</i></b> – Aki Kaurismäki</li>
<li><b><i>Roter Himmel</i></b> – Christian Petzold</li>
</ul><p>
<br />
<span style="font-size: large;"><b>Bestes adaptiertes Drehbuch</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b><i>Avec amour et acharnement</i></b> – Christine Angot, Claire Denis <span style="font-size: x-small;">(basierend auf dem Roman <i>Un tournant de la vie</i> von Christine Angot)</span></li>
<li><b><i>BlackBerry</i></b> – Matt Johnson, Matthew Miller <span style="font-size: x-small;">(basierend auf dem Non-Fiction-Buch <i>Losing the Signal: The Untold Story Behind the Extraordinary Rise and Spectacular Fall of BlackBerry</i> von Jacquie McNish und Sean Silcoff)</span></li>
<li><b><i>Blackbird Blackbird Blackberry</i></b> – Nikoloz Mdivani, Tamta Melashvili, Elene Naveriani <span style="font-size: x-small;">(basierend auf dem Roman <i>Blackbird Blackbird Blackberry</i> von Tamta Melashvili)</span></li><span style="font-size: x-small;"></span>
<li><b><i>Godzilla Minus One</i></b> – Takashi Yamazaki <span style="font-size: x-small;">(basierend auf der Godzilla-Figur aus dem Film <i>Godzilla</i> von Ishirō Honda)</span></li>
<li><b><i>The Killer</i></b> – Andrew Kevin Walker <span style="font-size: x-small;">(basierend auf dem Comic <i>Le Tueur</i> von Matz und Luc Jacamon)</span></li>
<li><b><i>Killers of the Flower Moon</i></b> – Eric Roth, Martin Scorsese <span style="font-size: x-small;">(basierend auf dem Non-Fiction-Buch <i>Killers of the Flower Moon: The Osage Murders and the Birth of the FBI</i> von David Grann)</span></li>
<li><b><i>Knock at the Cabin</i></b> – Steve Desmond, Michael Sherman, M. Night Shyamalan <span style="font-size: x-small;">(basierend auf dem Roman <i>The Cabin at the End of the World</i> von Paul G. Tremblay)</span></li>
</ul><p>
<br />
<span style="font-size: large;"><b>Beste Kamera</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b><i>Asteroid City</i></b> – Robert Yeoman</li>
<li><b><i>La chimera</i></b> – Hélène Louvart</li>
<li><b><i>Fallen Leaves</i></b> – Timo Salminen</li>
<li><b><i>Matter Out of Place</i></b> – Nikolaus Geyrhalter</li>
<li><b><i>Saint Omer</i></b> – Claire Mathon</li>
<li><b><i>Suzume</i></b> – Ryōsuke Tsuda</li>
<li><b><i>The Swan</i></b> – Roman Coppola</li>
</ul><p>
<span style="font-size: large;"><br />
<b>Bester Schnitt</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b><i>Aftersun</i></b> – Blair McClendon</li>
<li><b><i>Asteroid City</i></b> – Barney Pilling</li>
<li><b><i>Decision to Leave</i></b> – Kim Sang-bum</li>
<li><b><i>The Killer</i></b> – Kirk Baxter</li>
<li><b><i>Killers of the Flower Moon</i></b> – Thelma Schoonmaker</li>
<li><b><i>Oppenheimer</i></b> – Jennifer Lame</li>
<li><b><i>Roter Himmel</i></b> – Bettina Böhler</li>
</ul><p>
<br />
<span style="font-size: large;"><b>Beste Filmmusik</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b><i>Asteroid City</i></b> – Alexandre Desplat</li>
<li><b><i>Avec amour et acharnement</i></b> – Stuart Staples, David Leonard Boulter, Neil Fraser, Dan McKinna, Earl Harvin</li>
<li><b><i>Babylon</i></b> – Justin Hurwitz</li>
<li><b><i>The Boy and the Heron</i></b> – Joe Hisaishi</li>
<li><b><i>Godzilla Minus One</i></b> – Naoki Satō</li>
<li><b><i>The Killer</i></b> – Trent Reznor, Atticus Ross</li>
<li><b><i>Killers of the Flower Moon</i></b> – Robbie Robertson</li>
</ul><p>
<br />
<span style="font-size: large;"><b>Bester Ton</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b><i>Babylon</i></b> – Mildred Iatrou, Ai-Ling Lee, Steven Morrow, Tobias Poppe</li>
<li><b><i>The Eternal Daughter</i></b> – Jovan Ajder, David Giles</li>
<li><b><i>How to Have Sex</i></b> – Steve Fanagan</li>
<li><i><b>The Killer</b></i> – Steve Bissinger, Ren Klyce, Jeremy Molod<br /></li>
<li><b><i>Oppenheimer</i></b> – Willie D. Burton, Richard King, Randy Torres</li>
<li><b><i>Roter Himmel</i></b> – Bettina Böhler, Andreas Mücke-Niesytka, Dominik Schleier</li>
<li><b><i>Tár</i></b> – Stephen Griffiths, Kai Lüde, Matis Rei, Roland Winke</li>
</ul><p>
<span style="font-size: large;"><br />
<b>Beste Austattung</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b><i>Asteroid City</i></b> – Antonio Calvo Domínguez, Fernando Contreras Díaz, Stéphane Cressend, Alejandro Cymerman, Leonardo Grillo, Gabriel Liste, Kris Moran, Carmen Ruiz de Huidobro, Adam Stockhausen</li>
<li><b><i>Babylon</i></b> – Anthony Carlino, Ace Eure, Florencia Martin, Anthony D. Parillo, Jason Perrine, Eric Sundahl</li>
<li><b><i>Barbie</i></b> – Andrew Max Cahn, Dean Clegg, David Doran, Gregory Fangeaux, Jordana Finkel, Clara Gomez del Moral, Sarah Greenwood, Joe Howard, Katrina Mackay, Hugh McClelland, Katie Spencer, Gordon Stotz, Mark Swain, Alexandra Walker</li>
<li><b><i>Blackbird Blackbird Blackberry</i></b> – Mikhail Abesadze, Meri Asatiani, Giorgi Basilaia, Mariam Sabanadze</li>
<li><b><i>The Boy and the Heron</i></b> – Yōji Takeshige</li>
<li><b><i>La chimera</i></b> – Elisa Bentivegna, Emita Frigato, Rachele Meliadò</li>
<li><b><i>Oppenheimer</i></b> – Jake Cavallo, Ruth De Jong, Samantha Englender, Claire Kaufman, Anthony D. Parillo, Adam Willis</li>
</ul><p>
<br />
<span style="font-size: large;"><b>Beste Kostüme</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b><i>Asteroid City</i></b> – Milena Canonero</li>
<li><b><i>Barbie</i></b> – Jacqueline Durran</li>
<li><b><i>La chimera</i></b> – Loredana Buscemi</li>
<li><b><i>The Eternal Daughter</i></b> – Grace Snell</li>
<li><b><i>How to Have Sex</i></b> – George Buxton</li>
<li><b><i>Killers of the Flower Moon</i></b> – Jacqueline West</li>
<li><b><i>Napoleon</i></b> – David Crossman, Janty Yates</li>
</ul><p>
<br />
<span style="font-size: large;"><b>Beste Spezialeffekte</b></span></p><p><span style="font-size: large;"><b></b></span></p>
<p></p><ul>
<li><b>Ferrari</b></li>
<li><b>Godzilla Minus One</b></li>
<li><b>Guardians of the Galaxy Vol. 3</b></li>
<li><b>Jawan</b></li>
<li><b>Mission: Impossible – Dead Reckoning Part One</b></li>
<li><b>Napoleon</b></li>
<li><b>Oppenheimer</b></li>
</ul>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-6657933302374802402024-03-05T00:30:00.001+01:002024-03-06T10:53:05.649+01:00Maximum Cinema Filmpodcast #70: "May December" & "Do Not Expect Too Much from the End of the World"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/s2048/Pod_4500_3000-2048x1365.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/w400-h266/Pod_4500_3000-2048x1365.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Olivier Samter<br /></td></tr></tbody></table><br />
In <b><a href="https://www.maximumcinema.ch/podcast-70-may-december-do-not-expect-too-much-from-the-end-of-the-world/">Episode 70</a></b> des <i>Maximum Cinema</i>-Podcasts bekommen es Olivia, Olivier und ich mit zwei genüsslich herausfordernden Filmen zu tun. In <i>May December</i> verarbeitet Todd Haynes (<i><a href="https://www.maximumcinema.ch/carol-3/">Carol</a></i>) die wahre Geschichte einer Frau, die einen Siebtklässler vergewaltigte und später heiratete, zu einem unbequemen, ironisch gebrochenen Melodrama über Machtgefälle und das parasitäre Schauspielhandwerk. <i>Do Not Expect Too Much from the End of the World</i> vom rumänischen Regisseur Radu Jude (<i><a href="https://www.maximumcinema.ch/bad-luck-banging-or-loony-porn-von-radu-jude/">Bad Luck Banging or Loony Porn</a></i>) wiederum wirft mit seiner wilden Abrechnung mit der Gegenwart alle Erwartungen über den Haufen. Ausserdem: Was halten wir von den Oscars? Der Podcast ist auf allen gängigen Plattformen verfügbar.Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-62012517587834011782024-03-03T21:30:00.001+01:002024-03-06T10:49:23.331+01:00Avatar: The Last Airbender<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIS1TNyUMX7YqzUAxhn9mOhd5C4KGjGYAB_jRRqTOF-556Esk0OsK26Cveyft5HUvH170NIxizKs56rH_jCm4N4VNf9qJLDD1jmgbAdTPmO-7AThvzr5tAP_ImqmtH_dSnkKH-71robGkBHb3J-yFZWIy7tW9t9IYlqraG5-yjoD5-bORSs5aLim5rnMM1/s1400/AVATAR_TV_SCHWEIZ_KRITIK.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="933" data-original-width="1400" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIS1TNyUMX7YqzUAxhn9mOhd5C4KGjGYAB_jRRqTOF-556Esk0OsK26Cveyft5HUvH170NIxizKs56rH_jCm4N4VNf9qJLDD1jmgbAdTPmO-7AThvzr5tAP_ImqmtH_dSnkKH-71robGkBHb3J-yFZWIy7tW9t9IYlqraG5-yjoD5-bORSs5aLim5rnMM1/w400-h266/AVATAR_TV_SCHWEIZ_KRITIK.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="MuiTypography-root-13402 jss13919 jss13389 jss13919 Hawkins-Text-default jss13390 jss13392 jss13399 MuiTypography-body1-13404" data-testid="Copyright">© 2024 Netflix, Inc.</span>/COURTESY OF NETFLIX<em><strong><br />
</strong></em></td></tr></tbody></table><br />
★★<br />
<br />
"Doch wenn <i>One Piece</i> gezeigt hat, dass ein Live-Action-Remake das Original im allerbesten Fall um ein sympathisches Kuriosum ergänzen kann, ist Netflix' <i>Avatar</i> eine ernüchternde Erinnerung daran, wie sinnlos so ein Unterfangen in der Regel ist. Diese Version der Abenteuer von Aang, Sokka, Katara, Zuko und Iroh ist eine verkrampfte, erzählerisch und visuell uninspirierte, ja geradezu schludrige Pflichtübung, bei der sich praktisch zu jedem Zeitpunkt die Frage stellt, warum man sich nicht stattdessen gerade das animierte Original von Bryan Konietzko und Michael Dante DiMartino anschaut."<br />
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<span style="font-size: x-small;">Ganze Kritik auf <span style="font-style: italic;"><a href="https://www.maximumcinema.ch/avatar-the-last-airbender-von-albert-kim/" style="color: #cc0000;">Maximum Cinema</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-72311173108185006262024-02-29T23:00:00.000+01:002024-03-01T09:42:30.187+01:00Dune: Part Two<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHj_SNwm-BlBKltaPih7ufyOgC_kOPc19oqNHrPHIguG1Z3T3ie06Pp4gHD8xVr4LL0YBmoovuuEaCDoZjoEwvrfUGolcCQv-ItTmsYb5_hCdHMe2yM4jeEBe720jTgagxtkNTVAlxz5HIVqtsxKwnnopAs1jaskkX0DK71hPlgLVn_Mb4nmRC5dzpLkvi/s1400/DUNE-2_FILM_KINO_SCHWEIZ_KRITIK.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="738" data-original-width="1400" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHj_SNwm-BlBKltaPih7ufyOgC_kOPc19oqNHrPHIguG1Z3T3ie06Pp4gHD8xVr4LL0YBmoovuuEaCDoZjoEwvrfUGolcCQv-ItTmsYb5_hCdHMe2yM4jeEBe720jTgagxtkNTVAlxz5HIVqtsxKwnnopAs1jaskkX0DK71hPlgLVn_Mb4nmRC5dzpLkvi/w400-h211/DUNE-2_FILM_KINO_SCHWEIZ_KRITIK.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© 2023 Warner Bros. Ent. All Rights Reserved.</td></tr></tbody></table><br />
★★<br />
<br />
"Die Schauwerte mögen noch so grandios sein – wenn der Geschichte, die sie ausstaffieren, jegliche emotionale Anbindung abgeht, dann hat man sich lange vor Filmende an ihnen sattgesehen und -gehört. Frank Herberts Stoff bleibt theoretisch faszinierend – gerade was seine Skepsis bezüglich Religion und Staatswesen betrifft –, fällt in der Ausführung aber Villeneuves und Spaihts' uninspirierter Adaption zum Opfer. Und sosehr einzelne Szenen, Momente und Performances zu begeistern vermögen: Sie werden letztendlich von der dröhnenden Mittelmässigkeit des sie umgebenden Films überstimmt."<br />
<br />
<span style="font-size: x-small;">Ganze Kritik auf <span style="font-style: italic;"><a href="https://www.maximumcinema.ch/dune-part-two-von-denis-villeneuve/" style="color: #cc0000;">Maximum Cinema</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-28820679904713781572024-02-20T23:30:00.002+01:002024-03-01T09:38:15.808+01:00Menus-Plaisirs – Les Troisgros<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVOVEF4vBGZuEFP5VKodJX22VXFmRcg_9KlWeD0W9xz7pVbKv8quM6IdMQ-eI9b5LQuXwo9mhmCLWv0Cev5ywgYu7mZcfWAYmKtz-7qvMTEhaPK_Y-qaGyUhp8JMWcqhkEpQr76F1rPodrG8ojSUWbGsmNkyxoyrI10NDi4_ME_twvrcSUNTgt2K1LnJrS/s1400/MENUS-PLAISIRS_FILM_KINO_SCHWEIZ_KRITIK.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="738" data-original-width="1400" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVOVEF4vBGZuEFP5VKodJX22VXFmRcg_9KlWeD0W9xz7pVbKv8quM6IdMQ-eI9b5LQuXwo9mhmCLWv0Cev5ywgYu7mZcfWAYmKtz-7qvMTEhaPK_Y-qaGyUhp8JMWcqhkEpQr76F1rPodrG8ojSUWbGsmNkyxoyrI10NDi4_ME_twvrcSUNTgt2K1LnJrS/w400-h211/MENUS-PLAISIRS_FILM_KINO_SCHWEIZ_KRITIK.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Xenix Filmdistribution GmbH</td></tr></tbody></table><br />
★★★★<br />
<br />
"Doch letztlich ist <i>Menus-Plaisirs</i> vor allem ein faszinierend ambivalenter, subtil selbstreflexiver Film über die Vermarktung von Kunst. Obwohl Wiseman hier, wohl auch als Konzession an die Troisgros, von einigen seiner markantesten wiederkehrenden Motive absieht – etwa den Klassenunterschieden innerhalb des Personals oder der sonst obligaten Szene, in der die Protagonist*innen über das Budget debattieren, an das sich ihre Institution zu halten hat –, geistert das profitorientierte Denken durch die ganzen vier Stunden."<br />
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<span style="font-size: x-small;">Ganze Kritik auf <span style="font-style: italic;"><a href="https://www.maximumcinema.ch/menus-plaisirs-les-troisgros-von-frederick-wiseman/" style="color: #cc0000;">Maximum Cinema</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-40573002933690494852024-02-13T08:30:00.015+01:002024-03-06T10:50:16.288+01:00Maximum Cinema Filmpodcast #69: "Orion and the Dark" & "True Detective: Night Country"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/s2048/Pod_4500_3000-2048x1365.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/w400-h266/Pod_4500_3000-2048x1365.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Olivier Samter<br /></td></tr></tbody></table><br />
In <b><a href="https://www.maximumcinema.ch/podcast-69-orion-and-the-dark-true-detective-night-country/">Episode 69</a></b> des <i>Maximum Cinema</i>-Podcasts wagen Olivia und ich uns ohne den krankheitshalber abwesenden Olivier in die finstere Nacht. Sean Charmatz' Netflix-Animationsfilm O<i>rion and the Dark</i> handelt von einem kleinen Jungen, der sich mit der Dunkelheit anfreundet; <i>True Detective: Night Country</i> wiederum spielt in der Polarnacht von Alaska und weckt Erinnerungen an <i>Twin Peaks</i>. Und in der Fragestunde geht es um Objektivität und Subjektivität in der Filmkritik und die Lieblingskritiker*innen des Moderationsteams. Der Podcast ist auf allen gängigen Plattformen verfügbar.Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-6559719069467571842024-01-28T22:00:00.011+01:002024-01-29T17:58:05.495+01:00Pokémon Concierge<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibKK-7PJeLDxIqpvcBkNYNvUYZCvnvH9MZHMT90bYjxp6ymkjEybFXtgZTJksSPzPrZCZv5JdX0rTznf3Yy9C-5qtMttvcLOGXDQSxEi1okALEW_Nib6PbM9PKA5fP68YDhAGygoBoz1X6EZ9bRC44Agdb6g5gfgHgR_bXHvF5g6ZPSHM8pQnVK5lZ5GJf/s1400/POKEMON-CONCIERGE_TV_SCHWEIZ_KRITIK.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="788" data-original-width="1400" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibKK-7PJeLDxIqpvcBkNYNvUYZCvnvH9MZHMT90bYjxp6ymkjEybFXtgZTJksSPzPrZCZv5JdX0rTznf3Yy9C-5qtMttvcLOGXDQSxEi1okALEW_Nib6PbM9PKA5fP68YDhAGygoBoz1X6EZ9bRC44Agdb6g5gfgHgR_bXHvF5g6ZPSHM8pQnVK5lZ5GJf/w400-h225/POKEMON-CONCIERGE_TV_SCHWEIZ_KRITIK.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Netflix</td></tr></tbody></table><br />
★★★★<br />
<br />
"'Stop-Motion-Pokémon' ist eine Prämisse, bei der man im Grunde fast nichts falsch machen kann. Die Serie auf ihre eindrückliche, nur vereinzelt von Computereffekten unterstützte Animation und ihre liebevollen Figuren-, Pokémon- und Setdesigns zu reduzieren, wäre aber falsch. Ogawa und Doki demonstrieren hier auf äusserst ansprechende Weise, wie man mit einer heiss geliebten Franchise die Zukunft in Angriff nimmt, ohne mit der Vergangenheit zu brechen."<br />
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<span style="font-size: x-small;">Ganze Kritik auf <span style="font-style: italic;"><a href="https://www.maximumcinema.ch/pokemon-concierge-von-iku-ogawa/" style="color: #cc0000;">Maximum Cinema</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-1887795510828149912024-01-25T11:40:00.002+01:002024-01-25T11:40:41.069+01:00Füür brännt<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigpeDA17h3jp-3gIHI53HDteaI_dbAm4V75erckNypTFdkOuk1owccLU8ViuhXdMkydLNMVAcvPuyv29RqUZPq_Y0NCljm53HA3hQI53UKDm27ENe5uBfKAmZeU4sueEpk_7_2BQPzBXvKb4aEZOFkiCrgbhmWtf_RN3KWO3nL4r5Oz_Gw0RO8xlOnUZir/s1500/Fu%CC%88u%CC%88r%20bra%CC%88nnt.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="844" data-original-width="1500" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigpeDA17h3jp-3gIHI53HDteaI_dbAm4V75erckNypTFdkOuk1owccLU8ViuhXdMkydLNMVAcvPuyv29RqUZPq_Y0NCljm53HA3hQI53UKDm27ENe5uBfKAmZeU4sueEpk_7_2BQPzBXvKb4aEZOFkiCrgbhmWtf_RN3KWO3nL4r5Oz_Gw0RO8xlOnUZir/w400-h225/Fu%CC%88u%CC%88r%20bra%CC%88nnt.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Sabotage Kollektiv / KINO REBELDE<br /></td></tr></tbody></table><br />
"Fein beobachtete Gruppendynamiken und scharf gezeichnete Milieus erhalten den Vorzug gegenüber erzählerischen Schnörkeln. Das Resultat ist ein unverkrampft authentisch wirkender Film, dessen Darstellung der Jugend des Internetzeitalters für viele Zuschauer:innen, die in den letzten drei Jahrzehnten in der Deutschschweiz aufwuchsen, grossen Wiedererkennungswert haben dürfte."
<br />
<br />
<span style="font-size: x-small;">Ganze Kritik auf <span style="font-style: italic;"><a href="https://www.filmexplorer.ch/detail/fueuer-braennt/" style="color: #0492c2;">Filmexplorer</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-3435421231793242042024-01-23T23:30:00.001+01:002024-01-25T11:45:02.913+01:00Maximum Cinema Filmpodcast #68: "Monster" & "Robot Dreams" & Sarah Rothenberger<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/s2048/Pod_4500_3000-2048x1365.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/w400-h266/Pod_4500_3000-2048x1365.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Olivier Samter<br /></td></tr></tbody></table><br />
In <b><a href="https://www.maximumcinema.ch/podcast-68-monster-robot-dreams-sarah-rothenberger/">Episode 68</a></b> des <i>Maximum Cinema</i>-Podcasts setzen sich Olivier, Olivia und ich mit dem berührenden – aber im Moderationsteam nicht unbestrittenen – <i>Monster</i> von <i>Shoplifters</i>- und <i><a href="https://www.maximumcinema.ch/broker-von-hirokazu-kore-eda/">Broker</a></i>-Regisseur Hirokazu Kore-eda auseinander. Danach ist der spanische Animationsfilm <i>Robot Dreams</i> an der Reihe, der sein Publikum ins New York der Achtzigerjahre entführt – und über den nicht nur diskutiert wird: Olivier hat sich nämlich mit der Schweizer Animatorin Sarah Rothenberger, die am Film mitgearbeitet hat, zum Interview getroffen. Und schliesslich geht es in der Fragestunde wieder einmal um schlechte Filme und die Komplexität von Kinosaal-Sitten. Der Podcast ist auf allen gängigen Plattformen verfügbar.Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-42390552911145275232024-01-02T23:00:00.001+01:002024-01-03T13:21:24.270+01:00Maximum Cinema Filmpodcast: Die besten Filme und Serien 2023<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/s2048/Pod_4500_3000-2048x1365.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/w400-h266/Pod_4500_3000-2048x1365.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Olivier Samter<br /></td></tr></tbody></table><br />
In einer <a href="https://www.maximumcinema.ch/jahresrueckblick-special-die-besten-filme-und-serien-2023/">Spezialepisode</a> des <i>Maximum Cinema</i>-Podcasts nehmen Olivia, Olivier und ich den Jahreswechsel zum Anlass, um unsere Lieblingsfilme und -serien 2023 Revue passieren zu lassen. Welcher Animationsfilm schafft es auf Oliviers Bestenliste? Wie oft kann ich mich vorsorglich von <a href="https://www.facingthebittertruth.com/2023/12/the-best-films-of-2023.html">meiner eigenen Liste</a> distanzieren? Und welche Serien legt Olivia uns ans Herz? Der Podcast ist auf allen gängigen Plattformen verfügbar.Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-34661941598808164042023-12-31T15:32:00.008+01:002024-02-29T13:31:03.427+01:00The Best Films of 2023<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTdsXb9U4NCEOS6doL1rtg5LOqZJN9BY0Q7PDlEVwHJM3_CkaE-NLjBMKp07eBby_RyqKmXAE-s2WjJ79EkC1Ob36-moq2wJmwY3-zb8ai28m17v4uaXCJu6MjbBhIURTVc_TuZshTuQt3i9XZbt3DEF4Sg8UMLJjm6bGnndaKlODyJr9ioQ5ZpHfCbALq/s520/The%20Best%20Films%20of%202023.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="293" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTdsXb9U4NCEOS6doL1rtg5LOqZJN9BY0Q7PDlEVwHJM3_CkaE-NLjBMKp07eBby_RyqKmXAE-s2WjJ79EkC1Ob36-moq2wJmwY3-zb8ai28m17v4uaXCJu6MjbBhIURTVc_TuZshTuQt3i9XZbt3DEF4Sg8UMLJjm6bGnndaKlODyJr9ioQ5ZpHfCbALq/s16000/The%20Best%20Films%20of%202023.png" /></a></div><br />2023 is almost over, so it’s time to look back and to once again take stock of the films that stood out over the past twelve months. And although I, much like <a href="https://www.facingthebittertruth.com/2022/12/the-best-films-of-2022.html">last year</a>, can’t claim to have been able to wholly stay on top of my viewing, I am fairly confident that I have seen most of the films I wanted to see before making my list.
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In terms of eligibility, I continue to stick with the system that has served me well since my first end-of-the-year list in 2008: my picks are drawn from all the titles that premiered in the German-speaking part of Switzerland between 1 January and 31 December 2023, both theatrically (not including festival exclusives) and on VOD and streaming platforms.
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Loyal readers of my writing – or at least my lists – will notice that the number of films on the list has grown in comparison to previous years. The reason for this is that, as I was compiling my favourites of the year, I realised I was facing a choice between a top ten and an exceedingly narrow selection of honourable mentions and a more encompassing top twenty. And given that my ultimate goal with this list – apart from satisfying my own predilection for these kinds of compendia – is to provide readers with personally approved movie recommendations, I opted for expansion rather than arbitrary restraint.
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This doesn't mean, however, that these twenty titles are all the films I enjoyed in 2023. In fact, in lieu of honourable mentions, let me give a shoutout to Hayao Miyazaki's <i><a href="https://www.maximumcinema.ch/podcast-66-the-boy-and-the-heron-anatomie-dune-chute/">The Boy and the Heron</a></i>, Ali Asgari's <i>Until Tomorrow</i>, and Justine Triet's <i><a href="https://www.maximumcinema.ch/podcast-66-the-boy-and-the-heron-anatomie-dune-chute/">Anatomy of a Fall</a></i>, which all missed out on a top-twenty spot by the thinnest of margins. Yet, such is the nature of end-of-year lists. If you are curious about which other films that are not listed here struck my fancy in 2023 (and which ones didn't), I heartily recommend a stroll through <a href="https://letterboxd.com/AlanMattli/">my Letterboxd profile</a>, which contains ratings and nutshell reviews of everything I watched this year. And now, without further ado, here are my favourite films of 2023.
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<p></p><hr />
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<span style="font-size: x-large;">
<span><b>The Top Twenty</b></span></span>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkNVYjQAPeXbPrXekfjkhrF4TivB4ykuSvQXnSYtYyweDcNdwCrUT0GVkGM0xmi3rTF3T4WmzstmbBfonc-mgjEaWd50_DtjL5A7dIlVNpdbnS9537HHParNBZ7HMAnB_SS5sH3dwzdWrKfULVScGMjfW1L3-HYI1TBAGmdkVeCFp_1tiy9K_EjglpdBkp/s520/The%20Eternal%20Daughter.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="347" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkNVYjQAPeXbPrXekfjkhrF4TivB4ykuSvQXnSYtYyweDcNdwCrUT0GVkGM0xmi3rTF3T4WmzstmbBfonc-mgjEaWd50_DtjL5A7dIlVNpdbnS9537HHParNBZ7HMAnB_SS5sH3dwzdWrKfULVScGMjfW1L3-HYI1TBAGmdkVeCFp_1tiy9K_EjglpdBkp/s16000/The%20Eternal%20Daughter.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© A24<br /></td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>20</b></span><br />
<span style="font-size: large;">The Eternal Daughter</span><br />
directed by Joanna Hogg<br />
<span style="font-size: x-small;">(United Kingdom/United States, 2022)</span><br /></div><div><br />
A spiritual sequel – pun partially intended – to <i><a href="https://www.maximumcinema.ch/the-souvenir-von-joanna-hogg/">The Souvenir</a></i> (2019) and <i>The Souvenir Part II</i> (2021), writer-director Joanna Hogg’s stylised autobiographical accounts of coming of age in the arts scene of 1980s London, <i>The Eternal Daughter</i> is both a wispy Gothic ghost story about a haunted hotel in the Welsh countryside and a gently devastating exploration of filial grief. Anchored by an ever so slightly ironic double performance by Tilda Swinton – whose own daughter played Hogg’s on-screen stand-in in her <i>Souvenirs</i> – the film offers a potent, admirably pared-down variation on the old idea that ghosts are memories and extends it into a reflection of the spectral figures, narratives, and genres that haunt our movie screens. If <i>The Eternal Daughter</i> is indeed the cap to a trilogy of memoirs, Hogg has saved the best for last. <b><i>The Eternal Daughter</i> is available on Paramount+, DVD, and Blu-ray.</b>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZDPTMuPgTS-7J9f55y0vl_28bfR3GxYQcMG-leRNw3c_3uO2KURd8Pt4rdU3jGw5GPiVbEzLH1NPXOKZ524k7HK_SIAN9EaXxsx_D4UxHqj0Ee2MkdMqwUXxAbVTNgZXJzCkmbS_vfgKqSKjC5MkyKx7-5Kyrqxoar1KjN_mnhimVp0Uz7LzP_uD9R5AJ/s520/Ta%CC%81r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="218" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZDPTMuPgTS-7J9f55y0vl_28bfR3GxYQcMG-leRNw3c_3uO2KURd8Pt4rdU3jGw5GPiVbEzLH1NPXOKZ524k7HK_SIAN9EaXxsx_D4UxHqj0Ee2MkdMqwUXxAbVTNgZXJzCkmbS_vfgKqSKjC5MkyKx7-5Kyrqxoar1KjN_mnhimVp0Uz7LzP_uD9R5AJ/s16000/Ta%CC%81r.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© 2022 Focus Features, LLC. / Universal Schweiz</td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>19</b></span><br />
<span style="font-size: large;">Tár</span><br />
directed by Todd Field<br />
<span style="font-size: x-small;">(United States/Germany, 2022)</span><br /></div><div><br />
<i>Tár</i> arrived on the international cinema circuit with all the fanfare and portent one would expect from the first film by the director of <i>In the Bedroom</i> (2001) and <i>Little Children</i> (2006) in 16 years. Yet this aura of seriousness belies the wicked sense of humour Todd Field weaves into his epic tale about a star conductor’s fall from grace: from its slippery flirtations with so-called "cancel culture" discourse to the unexpectedly comical finale, <i>Tár</i> is a film that refuses easy classification and ideological didacticism, serving instead as a diligently styled, tonally ambiguous Rorschach test. In equal parts entertaining and unamenable – not least thanks to Cate Blanchett’s stellar lead performance – this is the type of mainstream-ready film that is actually a joy to unpack and discuss. <b><i>Tár</i> is available on blue TV, Sky, Microsoft Store, Apple TV, Google Play, Rakuten, DVD, and Blu-ray.</b> <i>(<a href="https://www.maximumcinema.ch/tar-von-todd-field/">Read my full review.</a>)</i>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl9sqB2iL9mtvrJtLUnlWBnX_zvf2vGjDOEQ8ORRalYZ9C1SffA2A9_ojjE8ZtwQUSqnWmRCyBT1nXlGBF0JBFVVzGciCnt3I4TaPir_ZTDgvEOhJgieg5ZXhc7Dm6SsXMjsRPCHL581GHn1JcpWLQrLbaKt06E-nha_fh0VklvyysxXHWfIj7_v-IhZBp/s520/All%20the%20Beauty%20and%20the%20Bloodshed.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="347" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl9sqB2iL9mtvrJtLUnlWBnX_zvf2vGjDOEQ8ORRalYZ9C1SffA2A9_ojjE8ZtwQUSqnWmRCyBT1nXlGBF0JBFVVzGciCnt3I4TaPir_ZTDgvEOhJgieg5ZXhc7Dm6SsXMjsRPCHL581GHn1JcpWLQrLbaKt06E-nha_fh0VklvyysxXHWfIj7_v-IhZBp/s16000/All%20the%20Beauty%20and%20the%20Bloodshed.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Filmcoopi Zürich AG<br /></td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>18</b></span><br />
<span style="font-size: large;">All the Beauty and the Bloodshed</span><br />
directed by Laura Poitras<br />
<span style="font-size: x-small;">(United States, 2022)</span><br /></div><div><br />
Against the backdrop of a United States in which decrying the pop-cultural visibility of queer people and people of colour as an undue "politicisation of art" has become part of the right-wing establishment’s rhetoric, Laura Poitras’ documentary about photographer Nan Goldin serves as a timely reminder that all art is political – and that artists would do well to accept and embrace that fact. Poitras’ formal approach may be more conventional in <i>All the Beauty and the Bloodshed</i> than it was in her investigative films on Edward Snowden (<i><a href="https://www.facingthebittertruth.com/2015/02/citizenfour.html">Citizenfour</a></i>) and Julian Assange (<i>Risk</i>); yet through her evocative narrative structure – switching back and forth between Goldin’s life as a chronicler of queer New York life during the AIDS crisis and her activism against the Sackler family’s instrumentalisation of art as a means of whitewashing their role in creating the present-day opioid epidemic in the U.S. – she fashions a stirring portrait of the artist to whom the alleged border between art and political activism has always been a bourgeois indulgence. <b><i>All the Beauty and the Bloodshed</i> is available on Kino on Demand, Rakuten, blue TV, Apple TV, Google Play, and DVD.</b> <i>(<a href="https://www.maximumcinema.ch/all-the-beauty-and-the-bloodshed-von-laura-poitras/">Read my full review.</a>)</i>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNXdf3MCRo1_6qmGIUJAECLbZM6Es5Z9vq2iERTZSlhcHZlAr9boB6sMXNRx_zADwFRjGV-8m808TbUHzr6c7sdZOYlhYjhBf92d8_Hwl1UzBRRGvUm61_R2lanDLWsYQwhOSp8aSyzemYgJZr-2ZYwxjXC3yuZQQZokbvADVggJ-z4gXIvwaF7xYxrCtn/s520/The%20Killer.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="222" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNXdf3MCRo1_6qmGIUJAECLbZM6Es5Z9vq2iERTZSlhcHZlAr9boB6sMXNRx_zADwFRjGV-8m808TbUHzr6c7sdZOYlhYjhBf92d8_Hwl1UzBRRGvUm61_R2lanDLWsYQwhOSp8aSyzemYgJZr-2ZYwxjXC3yuZQQZokbvADVggJ-z4gXIvwaF7xYxrCtn/s16000/The%20Killer.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Netflix 2023</td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>17</b></span><br />
<span style="font-size: large;">The Killer</span><br />
directed by David Fincher<br />
<span style="font-size: x-small;">(United States, 2023)</span><br /></div><div><br />
To some, David Fincher’s adaptation of the eponymous comic by Alexis "Matz" Nolent and Luc Jacamon is not all that much more than an unspectacular routine genre exercise from the director of <i>Seven</i> (1995), <i>Fight Club</i> (1999), and <i>The Social Network</i> (2010). Yet therein lies <i>The Killer</i>’s brilliance: after the sumptuous but lifeless <i><a href="https://www.maximumcinema.ch/mank-von-david-fincher/">Mank</a></i> (2020), there is a special kind of pleasure in seeing Fincher work through cheap paperback material – a professional assassin (a hilariously sociopathic Michael Fassbender) finds himself on the run after botching his latest contract – in his typically sleek, detached style. What’s more, <i>The Killer</i>, for all its violent thrills, is ultimately all about humorously deconstructing its Tyler Durden-esque protagonist, whose self-seriousness and cynical self-importance is consistently played for laughs and unmasked as the delusion of a deeply insecure man. <b><i>The Killer</i> is available on Netflix.</b>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5vPfd4L0NftisXU7M86byMdrk0xK8mdSTVZn3MtsmuQ-GiJQ3T-h2pWuwv9UVooHXOE7blqsTZnUFoReSBVCTzw8QpHJ02lHkBnMhDWrhLZKBAQFpnnI661H98jfhH2eelQ1anmw38h5KpH8dYPh5jFheDJ1zXP_AFeorgwNz8FJ9Kz2gbXQ6Y92fBHh3/s520/Knock%20at%20the%20Cabin.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="217" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5vPfd4L0NftisXU7M86byMdrk0xK8mdSTVZn3MtsmuQ-GiJQ3T-h2pWuwv9UVooHXOE7blqsTZnUFoReSBVCTzw8QpHJ02lHkBnMhDWrhLZKBAQFpnnI661H98jfhH2eelQ1anmw38h5KpH8dYPh5jFheDJ1zXP_AFeorgwNz8FJ9Kz2gbXQ6Y92fBHh3/s16000/Knock%20at%20the%20Cabin.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="copy">© Universal Pictures International Switzerland. All Rights Reserved.</span></td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>16</b></span><br />
<span style="font-size: large;">Knock at the Cabin</span><br />
directed by M. Night Shyamalan<br />
<span style="font-size: x-small;">(United States, 2023)</span><br /></div><div><br />
His cinematic output may be notoriously hit and miss, but when M. Night Shyamalan gets his high-concept mystery-thriller mixture right, there are few mid-budget genre filmmakers on the American scene who can touch him. Case in point: <i>Knock at the Cabin</i>, adapted from Paul G. Tremblay’s novel <i>The Cabin at the End of the World</i>, in which a couple and their adopted child are confronted in their secluded cabin in the woods by four strangers claiming to be prophets on a quest to stop the apocalypse. The result is a tense chamber play, whose confidently and appealingly ludicrous premise never descends into parody, thanks to an engaging end-of-days atmosphere, well-dosed glimpses of existential horror, a range of strong performances, and a persistent underlying sense that the film is Shyamalan’s – very successful – attempt at articulating climate change anxiety in a genre context. <b><i>Knock at the Cabin</i> is available on blue TV, Sky, Sunrise TV, Apple TV, Google Play, Rakuten, DVD, and Blu-ray.</b>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHtI5v9PqmOzIJV4fzUpq8aTCdC3XwcAYvPOpuxMl4BaQVK4Feaq6oQfFn7VGT7YPmjsj3Q8Hvj7mPa1VgZXOgEX19K4co3p2ig988nQhBiudeDrG5U3yV-ErypJ1kl5-5sPo7ShVGeJgmuAQ6XPZ7QK4vsmmDjjhjUsHSN0NP5k_nahNP6kKVE0vnkkAW/s520/About%20Dry%20Grasses.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="218" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHtI5v9PqmOzIJV4fzUpq8aTCdC3XwcAYvPOpuxMl4BaQVK4Feaq6oQfFn7VGT7YPmjsj3Q8Hvj7mPa1VgZXOgEX19K4co3p2ig988nQhBiudeDrG5U3yV-ErypJ1kl5-5sPo7ShVGeJgmuAQ6XPZ7QK4vsmmDjjhjUsHSN0NP5k_nahNP6kKVE0vnkkAW/s16000/About%20Dry%20Grasses.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="copy">© trigon-film</span></td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>15</b></span><br />
<span style="font-size: large;">About Dry Grasses</span><br />
directed by Nuri Bilge Ceylan<br />
<span style="font-size: x-small;">(<i>Kuru Otlar Üstüne</i>, Turkey/France/Germany, 2023)</span><br /></div><div><br />
Turkish auteur Nuri Bilge Ceylan’s latest, a 197-minute drama about an unsympathetic schoolteacher in remote Eastern Anatolia dreaming of a more fulfilling life in Istanbul, is, first and foremost, a triumph of long-form storytelling: <i>About Dry Grasses</i> may sport Ceylan’s usual painterly exteriors – and an unexpected, unapologetically unelaborated-on breaking of the fourth wall two-and-a-half hours in – but it is in its expansive, brilliantly acted dialogue scenes that it truly comes alive, bursting at the seams with ideas about the folly and the necessity of optimism, the challenge to renounce opportunistic egotism in a world that rewards it, and the patchwork of identities and ideologies that make up modern Turkey. <b><i>About Dry Grasses</i> is currently playing in Swiss cinemas.</b>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTgmxIAGPZQlAU16P7Az2jJdTleGbmIJAQ3S-8Y90CrW25myExVQnJvmTO5RWc-6N0qaug5UjhDOkdD0hW41u4cdu-DkgjSzcxOXb8DJw8pgo_5bFC559dGPy1LA1WX19nJ47ThtDI71pSBlbAFsLTfvf3NMEFch2UdvBlTL8d4j2MfMYW3zh5aIFqjG93/s520/Jawan.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="215" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTgmxIAGPZQlAU16P7Az2jJdTleGbmIJAQ3S-8Y90CrW25myExVQnJvmTO5RWc-6N0qaug5UjhDOkdD0hW41u4cdu-DkgjSzcxOXb8DJw8pgo_5bFC559dGPy1LA1WX19nJ47ThtDI71pSBlbAFsLTfvf3NMEFch2UdvBlTL8d4j2MfMYW3zh5aIFqjG93/s16000/Jawan.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="copy">© Ciné ABC GmbH Distr.</span></td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>14</b></span><br />
<span style="font-size: large;">Jawan</span><br />
directed by Atlee<br />
<span style="font-size: x-small;">(<i>जवान</i>, India, 2023)</span><br /></div><div><br />
In a year where a lot of ink was spilt – and a lot of <a href="https://www.youtube.com/watch?v=RQF82Kj-v0E&ab_channel=Patrick%28H%29Willems">video-essay time</a> was spent – discussing the creeping death of the Western movie star, Bollywood superstar Shah Rukh Khan helmed no fewer than three major Indian tentpoles, to critical acclaim and commercial success. One of these, Arun "Atlee" Kumar’s Hindi-language debut <i>Jawan</i>, made international headlines in particular – likely thanks to both its global Netflix release and the fact that it stars Khan in an eye-catching double role, playing both an idealistic prison warden, who seeks to fix India’s structural problems through a series of daring terrorist attacks, and his amnesiac super-soldier father. Not only does this result in an engagingly tongue-in-cheek reflection on Khan’s own star persona; it also provides Atlee with an appropriately large canvas on which to indulge in a number of delightful, gloriously maximalist action set pieces, culminating in a strikingly direct indictment of India’s current right-wing government. <b><i>Jawan</i> is available on Netflix.</b>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFjYe16m43W7_XIgejIVGN6eXSFO3A8cDN0XIzpFaseUbLEcwg64Cah4MsWAFPFDe4OqE52KI7fYwhc8D5a7SXm02ieUDGzqGTzqGEl6wns5GPCjgqiOGHztjocHFinT_hM2pAx2eTAm0QG9e7TK8hk8tYYlqYWsDEBtzMX5VRGRFGngq8FTrtqx9vFYEI/s520/Avec%20amour%20et%20acharnement.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="293" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFjYe16m43W7_XIgejIVGN6eXSFO3A8cDN0XIzpFaseUbLEcwg64Cah4MsWAFPFDe4OqE52KI7fYwhc8D5a7SXm02ieUDGzqGTzqGEl6wns5GPCjgqiOGHztjocHFinT_hM2pAx2eTAm0QG9e7TK8hk8tYYlqYWsDEBtzMX5VRGRFGngq8FTrtqx9vFYEI/s16000/Avec%20amour%20et%20acharnement.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="copy">© Frenetic Films AG<br /></span></td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>13</b></span><br />
<span style="font-size: large;">Both Sides of the Blade</span><br />
directed by Claire Denis<br />
<span style="font-size: x-small;">(<i>Avec amour et acharnement</i>, France, 2022)</span><br /></div><div><br />
Cinematic convention may hold that mutual romantic attraction is generally a good thing, but Claire Denis, in her troubling psychological drama <i>Both Sides of the Blade</i>, manages to formulate a striking counterpoint to this notion: starring two acting titans of contemporary cinema – Juliette Binoche and Vincent Lindon – as a married couple facing the irresolvable conflicts of the past, Denis’ film unflinchingly explores the brute destructive force of unbridled romanticism and nostalgia and how it can impact the invisible lines of connection and separation that pervade any long-term relationship. The set-up may be simpler than a lot of other films by the director of <i>Beau Travail</i> (1999) and <i>High Life</i> (2018), but the emotional landscapes she charts – with the help of her impeccable sense of how to visually navigate physical spaces – are as complex and labyrinthine as ever. <b><i>Both Sides of the Blade</i> is available on Filmingo, Apple TV, blue TV, and DVD.</b>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlNBA7bYRPZMFB-zneY4JWQmmBnLC2Pk8nh27H-Boj_62TzcD9dYmEQlrxqnWn5ty_AYpP722TSQUdk1ahVjyp8MXjQmHf2D0Di6m2w35HY4opPZxXlGalIm4nck7et_gh4OPMqGqHXZPThNMD8ndXeaZeO9S5ko-Sc0Mee5V9QyF2oBnqhzcQhCp9LmkI/s520/Suzume.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="292" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlNBA7bYRPZMFB-zneY4JWQmmBnLC2Pk8nh27H-Boj_62TzcD9dYmEQlrxqnWn5ty_AYpP722TSQUdk1ahVjyp8MXjQmHf2D0Di6m2w35HY4opPZxXlGalIm4nck7et_gh4OPMqGqHXZPThNMD8ndXeaZeO9S5ko-Sc0Mee5V9QyF2oBnqhzcQhCp9LmkI/s16000/Suzume.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="copy">© Sony Pictures Releasing Switzerland GmbH</span></td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>12</b></span><br />
<span style="font-size: large;">Suzume</span><br />
directed by Makoto Shinkai<br />
<span style="font-size: x-small;">(<i>すずめの戸締まり</i>, <i>Suzume no Tojimari</i>, Japan, 2022)</span><br /></div><div><br />
Colourful clouds of otherworldly beauty and lone doors leading nowhere, the threat of natural disaster looming over a teenage protagonist’s everyday routine: it is never less than obvious that <i>Suzume</i> was made by Makoto Shinkai, the celebrated Japanese filmmaker behind <i>Your Name</i> (2016) and <i>Weathering with You</i> (2019), who, over the last decade or so, has established himself as the designated heir to Hayao Miyazaki’s reputation as Japan’s foremost anime artist. And although Miyazaki’s own <i>The Boy and the Heron</i> made it clear this year that it’s still far too early to think of the Studio Ghibli co-founder’s artistry in the past tense, <i>Suzume</i>’s Ghibli-inspired visual splendour and ambitious, admirably cogent, unabashedly emotional attempt to wrestle with the traumas of Japan’s recent past make a strong case for why it’s not all that frivolous to already think of Shinkai in those terms. <b><i>Suzume</i> will be released on DVD and Blu-ray on 5 April 2024.</b> <i>(<a href="https://www.maximumcinema.ch/suzume-von-makoto-shinkai/">Read my full review.</a>)</i>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgab0_Eiha3IyM6qyWo4Ygu0UsYK9BucH7wpLG5Z7Qcmg0nP74If_Xt_yGg_NmHqv4epxqhG3-gENXhB0ro_qZuDUEf8f49KYWsr4IQuDcET9dNVthJ2GWvM4mzyPqI2-P7DR-68MbR-pZkDcCEBrZSRunZVpYwDCkV487oaHJ0Lvgx7cYbbqTFQe24ayzT/s520/Decision%20to%20Leave.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="347" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgab0_Eiha3IyM6qyWo4Ygu0UsYK9BucH7wpLG5Z7Qcmg0nP74If_Xt_yGg_NmHqv4epxqhG3-gENXhB0ro_qZuDUEf8f49KYWsr4IQuDcET9dNVthJ2GWvM4mzyPqI2-P7DR-68MbR-pZkDcCEBrZSRunZVpYwDCkV487oaHJ0Lvgx7cYbbqTFQe24ayzT/s16000/Decision%20to%20Leave.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Filmcoopi Zürich AG</td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>11</b></span><br />
<span style="font-size: large;">Decision to Leave</span><br />
directed by Park Chan-wook<br />
<span style="font-size: x-small;">(<i>헤어질 결심</i>, <i>Heeojil gyeolsim</i>, South Korea, 2022)</span><br /></div><div><br />
South Korean filmmaker Park Chan-wook has always had a knack for marrying the tragic and the morbid, for combining gritty thriller material and sweeping romance with a slapstick sensibility for the all the bizarre ways in which human minds and bodies can break – and his latest, the Hitchcockian thriller farce <i>Decision to Leave</i>, is a particularly fine example of what makes the director of <i><a href="https://www.maximumcinema.ch/podcast-43-beast-mode/">Oldboy</a></i> (2003) and <i>The Handmaiden</i> (2016) such a compelling artist. Carried by two committed lead performances – which deftly mix sensuality with melodramatic pathos and a sense of absurdist humour – the story about an obsessive homicide detective (Park Hae-il) and his investigation into a Chinese-Korean widow (Tang Wei) gradually escalates into an elaborate tale of lust, murder, and the pitfalls of using other people as projection spaces for one’s own desires, before concluding on a note of achingly beautiful artifice that only a director of Park’s calibre could pull off. <b><i>Decision to Leave</i> is available on MUBI, blue TV, Apple TV, Google Play, Sky, Kino on Demand, Microsoft Store, Rakuten, DVD, and Blu-ray.</b> <i>(<a href="https://www.maximumcinema.ch/decision-to-leave-park-chan-wook/">Read my full review.</a>)</i>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3u8C-sVL0851bcR8V69XITilCUgAB5t6N9Aw9tXBjC6Dlb8ycc7I06STNkpUloP-uwhQ-5u16aJmgTyc2Tr2hskKPvU5jZbBvKsFxRcNTv4ND1wpsThM-uaqJeU9X1KX8cR7nCUW7vqHO_pAnKaBOwpl2AEPDODCko2gChR5Q42gSDmBweoTWcll-SRTT/s520/Saint%20Omer.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="281" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3u8C-sVL0851bcR8V69XITilCUgAB5t6N9Aw9tXBjC6Dlb8ycc7I06STNkpUloP-uwhQ-5u16aJmgTyc2Tr2hskKPvU5jZbBvKsFxRcNTv4ND1wpsThM-uaqJeU9X1KX8cR7nCUW7vqHO_pAnKaBOwpl2AEPDODCko2gChR5Q42gSDmBweoTWcll-SRTT/s16000/Saint%20Omer.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Cineworx GmbH<br /></td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>10</b></span><br />
<span style="font-size: large;">Saint Omer</span><br />
directed by Alice Diop<br />
<span style="font-size: x-small;">(France, 2022)</span><br /></div><div><br />
Even though it is Justine Triet’s engrossing Golden Palm winner <i>Anatomy of a Fall</i> that will go down in history as 2023’s premier French courtroom drama about the slippery nature of allegedly "objective" reality, Swiss cinemas were graced with an even better variation on this theme earlier this year in the form of Alice Diop’s <i>Saint Omer</i>. In her fiction debut, which premiered at the Cannes Film Festival in 2022, the seasoned French documentarian behind <i>Danton’s Death</i> (2011) and <i>We</i> (2021) dramatises the 2016 murder trial of Fabienne Kabou, a Senegalese-born woman who killed her 15-month-old baby by abandoning it on a beach in the northern-French town of Saint-Omer. Told through the eyes of a taciturn Diop avatar (played by Kayije Kagame) attending the trial against the film’s Kabou stand-in (played by a fascinatingly unreadable Guslagie Malanda), Saint Omer pits the hallowed, rigorously codified French judiciary against the supposedly postcolonial state it operates in: the protocols of establishing innocence and criminal guilt are applied to the letter, but, faced with a defendant who doesn’t deny her crime but rather her moral culpability, they signally fail to uncover the murder’s deeper truths – exposing instead the instability of the French social contract and the ways in which official, self-avowedly neutral structures are merely mirrors of existing social hierarchies. Beyond this thematic potency, <i>Saint Omer</i> is also a prime example of form following function: by gradually stripping away the well-worn trappings of Dardennes-style Francophone “naturalism” – a type of drama that routinely deals in the same reductive stereotypes that the protagonists of the Saint-Omer trial fling at the film’s Kabou character – and embracing a more "documentarian" approach, which is then complicated further by the intrusion of dramatic fiction, Diop demonstrates the tenuous status of truth not only in law but in filmmaking as well, be it fictive or fact-based. It takes a documentarian to remind us of the manipulative power of cinema. <b><i>Saint Omer</i> is available on Filmingo, Kino on Demand, blue TV, DVD, and Blu-ray.</b> <i>(<a href="https://www.maximumcinema.ch/saint-omer-von-alice-diop/">Read my full review.</a>)</i>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJxtM_RgxTzkVkLL4_7pfRr7_69C4ZEF6JfoJoeIhUDeSFlt9xb9EAqtZQdSGkQXvdHfM2kRZygVHuPO3PahAr-fc6bKCpOP0tMnMY_l-JrH3R2kvVFUIlTUjRzSJSPP_Hb9_jZvQVWeT-O9KJgs1FtBNNFmNaad471dDj0iF3kIJFG5gglozK3_iEe_jV/s520/The%20Fabelmans.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="347" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJxtM_RgxTzkVkLL4_7pfRr7_69C4ZEF6JfoJoeIhUDeSFlt9xb9EAqtZQdSGkQXvdHfM2kRZygVHuPO3PahAr-fc6bKCpOP0tMnMY_l-JrH3R2kvVFUIlTUjRzSJSPP_Hb9_jZvQVWeT-O9KJgs1FtBNNFmNaad471dDj0iF3kIJFG5gglozK3_iEe_jV/s16000/The%20Fabelmans.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Universal Pictures Switzerland / Storyteller Distribution Co., LLC. All Rights Reserved.</td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>9</b></span><br />
<span style="font-size: large;">The Fabelmans</span><br />
directed by Steven Spielberg<br />
<span style="font-size: x-small;">(United States, 2022)</span><br /></div><div><br />
Making nostalgic movies about one’s own childhood and/or the source of one’s own cinephilia has become a popular pastime among white male directors of a certain age, from Alfonso Cuarón’s <i><a href="https://www.maximumcinema.ch/roma-von-alfonso-cuaron/">Roma</a></i> (2018) and Paolo Sorrentino’s <i>The Hand of God</i> (2021) to Quentin Tarantino’s <i><a href="https://www.maximumcinema.ch/once-upon-a-time-in-hollywood-von-quentin-tarantino/">Once Upon a Time in Hollywood</a></i> (2019) and Kenneth Branagh’s <i><a href="https://www.maximumcinema.ch/belfast-von-kenneth-branagh/">Belfast</a></i> (2021). So one could be forgiven for raising an eyebrow at the prospect of Steven Spielberg joining the bandwagon, and in quite an indulgent fashion at that: <i>The Fabelmans</i>, clocking in at two-and-a-half hours, tells the loosely fictionalised story of Spielberg’s own upbringing in 1950s New Jersey, Arizona, and California. Yet the film serves as a potent reminder for why Spielberg is generally considered to be one of the best American filmmakers of all time: instead of a myopic victory lap by an elder Hollywood statesman, <i>The Fabelmans</i> delivers an incisive, appropriately thorny portrait of a neurotic teenager, whose only means of confronting the reality of his own dysfunctional family is filtering that dysfunction through the distorting, manipulable funhouse mirror of cinema. The sequence where Spielberg stand-in Sammy Fabelman (Gabriel LaBelle) appropriates the aesthetics of Nazi propaganda films in order to get back at his antisemitic high-school bully is startlingly clear-eyed reflection on the power of the moving image and the filmmaker’s complicated relationship with the darker corners of its history. And, in addition to the thematic depth Spielberg lends to an often rather trite format, <i>The Fabelmans</i> also shines as a showcase for the qualities its director is most famous for – pure, unbridled entertainment value. <b><i>The Fabelmans</i> is available on blue TV, Microsoft Store, Apple TV, Google Play, Sky, Rakuten, DVD, and Blu-ray.</b> <i>(<a href="https://www.maximumcinema.ch/the-fabelmans-von-steven-spielberg/">Read my full review.</a>)</i>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3fJObV3EC30XbwS0rVlIQLPorQH7w0rqGg5hcqxJcm0Aae7v6K7440ZtHhJdT6mhLqlGTTSalMzBwx3qgxAqzwZGPED4YqrV58mi2Ct5Pofcyib6atC85fxl2ZXGxUa3QG6hnx7azvNsFS9cmyuOM1cojIcdz-7hA-Q-pnV-qzCZM1r9aQAAROnIYUouh/s520/Godzilla%20Minus%20One.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="347" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3fJObV3EC30XbwS0rVlIQLPorQH7w0rqGg5hcqxJcm0Aae7v6K7440ZtHhJdT6mhLqlGTTSalMzBwx3qgxAqzwZGPED4YqrV58mi2Ct5Pofcyib6atC85fxl2ZXGxUa3QG6hnx7azvNsFS9cmyuOM1cojIcdz-7hA-Q-pnV-qzCZM1r9aQAAROnIYUouh/s16000/Godzilla%20Minus%20One.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Praesens-Film AG<br /></td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>8</b></span><br />
<span style="font-size: large;">Godzilla Minus One</span><br />
directed by Takashi Yamazaki<br />
<span style="font-size: x-small;">(<i>ゴジラ-1.0</i>, <i>Gojira Mainasu Wan</i>, Japan, 2023)</span><br /></div><div><br />
The first live-action Japanese <i>Godzilla</i> movie since 2016’s <i>Shin Godzilla</i> by Hideaki Anno and Shinji Higuchi – itself one of the best films of the last decade – is a stark reminder of both the metaphorical power and the entertainment value the titular monster continues to wield, almost 70 years into its existence. Focusing on a disgraced kamikaze pilot’s quest for redemption in the rubble of post-war Tokyo – and in the face of the threat posed by an unsettlingly bloodthirsty Godzilla – Takashi Yamazaki’s <i>Godzilla Minus One</i> is part prequel, part remake, part reimagining of Ishirō Honda’s 1954 original, de-emphasising the gargantuan lizard’s nuclear origins and reframing it as a logistical and civic challenge to a disillusioned late-1940s Japan: how to forge a community, a sense of purpose and pride, and a functioning nation out of the leftovers of a fascist dictatorship? That this approach does not end up veering into revisionist historical apologia – though its incipient traces are definitely there, ripe for unpacking – is a testament to the strength of Yamazaki’s narrative, with its themes of learning from the mistakes of the past, being granted second chances, and found families proving more durable and more reliable than governmental structures. Indeed, <i>Godzilla Minus One</i>’s canny blend of men-on-a-mission action comedy and heart-wrenching romantic melodrama is an emphatic rebuttal to the oft-repeated claim that a <i>Godzilla</i> movie cannot reasonably be expected to deliver a meaningful human story in between its obligatory bouts of large-scale destruction. But take nothing away from Yamazaki and his visual effects collaborator Kiyoko Shibuya: whenever they do lean into the menace of Godzilla – be it in a tense <i>Jaws</i>-like ocean set piece, a night-time assault on a military station, or the flattening of Tokyo’s Ginza district – the images, soundscapes, and pure kaiju spectacle they come up with is simply undeniable. <i>Godzilla Minus One</i> easily earns the title of 2023’s premier action movie. <b><i>Godzilla Minus One</i> is currently playing in Swiss cinemas.</b>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOp1srrReIpCzbqcu2WGJTUwtV2a2VeIswpaELNzAmI8AbggsHVnSB_z75aydXPJJPnK1NXuaeKn4Riaa6I8Gai_fqvg7f4mWe1UVz2yRDC1Du_S_WfHSo4yGoByHt4bbxAqMUcXj2gZfkJrWwxuOCNCaHLYXfsE7a2udUnYfjwM-2L8m6HazMeYyzHFIc/s520/Oppenheimer.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="364" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOp1srrReIpCzbqcu2WGJTUwtV2a2VeIswpaELNzAmI8AbggsHVnSB_z75aydXPJJPnK1NXuaeKn4Riaa6I8Gai_fqvg7f4mWe1UVz2yRDC1Du_S_WfHSo4yGoByHt4bbxAqMUcXj2gZfkJrWwxuOCNCaHLYXfsE7a2udUnYfjwM-2L8m6HazMeYyzHFIc/s16000/Oppenheimer.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Universal Pictures International Switzerland. All Rights Reserved.</td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>7</b></span><br />
<span style="font-size: large;">Oppenheimer</span><br />
directed by Christopher Nolan<br />
<span style="font-size: x-small;">(United States/United Kingdom, 2023)</span><br /></div><div><br />
Love him, hate him, be ambivalent about him – but other than British-American blockbuster auteur Christopher Nolan, there is probably no filmmaker working today who could make a dialogue-driven three-hour historical drama that concludes with the assertion that its viewers stand a decent chance of dying in a nuclear apocalypse and have it be one of the year’s biggest box office hits. However, that’s not the reason – or at least not the only one – why Nolan’s <i>Oppenheimer</i> has ended up on this list. Adapted from <i>American Prometheus</i>, Kai Bird and Martin J. Sherwin’s acclaimed biography of J. Robert Oppenheimer, the "father of the atomic bomb," the film’s dramatisation of Oppenheimer’s life leading up to Hiroshima and Nagasaki and his later efforts to curtail the American rush to nuclear world domination is, in typical Nolan fashion, as excitingly fast-paced as it is intricately structured. However, after the narrative gambits of <i><a href="https://www.facingthebittertruth.com/2014/11/interstellar.html">Interstellar</a></i> (2014), <i><a href="https://www.facingthebittertruth.com/2017/10/kritik-in-kurze-baby-driver-dunkirk-get.html">Dunkirk</a></i> (2017), and <i><a href="https://www.maximumcinema.ch/tenet-von-christopher-nolan/">Tenet</a></i> (2020), which were all frustrating for different reasons, <i>Oppenheimer</i> finally sees Nolan’s formal reach not exceed his thematic grasp: by focusing not only on the titular character (played with uncanny intensity by Cillian Murphy) but also on his primary post-war antagonist, government official Lewis Strauss (Robert Downey Jr.), the film perceptively puts both Oppenheimer’s co-creation of a doomsday device and his moral qualms regarding its use in a political and historical context, making tangible the precarious – and often perfidious – process of scientific theory becoming military practice. The result is a captivating and deeply unsettling film about mid-century America and the realisation that we’re all still living in its radioactive afterglow. <b><i>Oppenheimer</i> is currently playing in Swiss cinemas, and it is available on Sunrise TV, Google Play, Microsoft Store, blue TV, Apple TV, Rakuten, Sky, DVD, and Blu-ray.</b> <i>(<a href="https://www.maximumcinema.ch/oppenheimer-von-christopher-nolan/">Read my full review.</a>)</i>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxLFzuF68hQY2E86v-BxBIFDygB4_oIiLBoyocKsQptCKpt6LQM-Blvy2jblVN0U_351j-GJiGncVWV5HQgU-7EvmHCbrVR5MhIcoajGefgbt9e10vm9eSkiFtgy6Yvd_GNF1sVNTwERJo4ivEkEsZN64lgnNfGiLTqFkvenLX57gkfHmxoXFAGK-KB-W3/s520/Killers%20of%20the%20Flower%20Moon.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="347" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxLFzuF68hQY2E86v-BxBIFDygB4_oIiLBoyocKsQptCKpt6LQM-Blvy2jblVN0U_351j-GJiGncVWV5HQgU-7EvmHCbrVR5MhIcoajGefgbt9e10vm9eSkiFtgy6Yvd_GNF1sVNTwERJo4ivEkEsZN64lgnNfGiLTqFkvenLX57gkfHmxoXFAGK-KB-W3/s16000/Killers%20of%20the%20Flower%20Moon.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© 2023 Paramount Pictures. All Rights Reserved.</td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>6</b></span><br />
<span style="font-size: large;">Killers of the Flower Moon</span><br />
directed by Martin Scorsese<br />
<span style="font-size: x-small;">(United States, 2023)</span><br /></div><div><br />
In 2019, Martin Scorsese made headlines both for directing <i><a href="https://www.maximumcinema.ch/the-irishman-by-martin-scorsese/">The Irishman</a></i>, whose three-and-a-half-hour runtime was seen by some as excessively indulgent, and for making the now-infamous – and since copiously elaborated-on – pronouncement that superhero movies, specifically those produced by Disney’s Marvel Studios, are "not cinema." Four years on, the discourse seems to have progressed only slightly: some corners of the media landscape continue to insist on painting Scorsese as an elitist gatekeeper for failing to pay sufficient fealty to some of the most popular pieces of entertainment in the current era; and a lot of ink has been spilled yet again about the fact that his latest film, the fact-based drama <i>Killers of the Flower Moon</i>, is 206 minutes long. Here’s hoping that all that ambient noise won’t drown out the primary reason why Scorsese should be making headlines this year: <i>Killers of the Flower Moon</i> is a stirring piece of historical filmmaking – a striking artistic and political statement from a major Hollywood director, who, at 81, is continuing his career-long exploration of the sickening violence in which the modern United States’ wealth and power are rooted. Set in Oklahoma’s Osage County in the 1920s, during a years-long campaign of murder committed against the county’s oil-rich Native American population, the film modifies the dramaturgy of its source material – David Grann’s eponymous non-fiction book – in order to minimise the story’s conventional genre thrills, emphasising instead the insidious openness with which white America carried on its genocidal legacy well into the 20th century. The result – carried by Thelma Schoonmaker’s poignant narrative editing and indelible performances from Leonardo DiCaprio, Robert De Niro, and, most of all, Lily Gladstone – is a chillingly matter-of-fact account of colonial exploitation and the ways in which it is baked every facet of contemporary America, capped by a breathtaking final sequence that stands tall as one of the most forceful passages in Scorsese’s entire body of work. <b><i>Killers of the Flower Moon</i> is currently playing in Swiss cinemas, and it is available on Apple TV, blue TV, Sky, Google Play, Microsoft Store, and Rakuten as well as on DVD and Blu-ray (as of 25 January 2024).</b> <i>(<a href="https://www.maximumcinema.ch/killers-of-the-flower-moon-von-martin-scorsese/">Read my full review.</a>)</i>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTqTEmy4abNUJgr5cUOhQbkXEdYZA41-0_jkkyhAxwcGdmED4aaUHwFKr6CNh65DXAgoaKIyam2PZUyaok7PIs-NoX_WxtLagHp-HZ4NlouUfa-GnzRi_NVDyPdAzt1K73VsQZe6aqYFQ4iqPq_mRdHZ9tiwyHLMpa_Ij3y5Ng3SKrgGaurSF7I_rFjO4V/s520/Asteroid%20City.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="218" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTqTEmy4abNUJgr5cUOhQbkXEdYZA41-0_jkkyhAxwcGdmED4aaUHwFKr6CNh65DXAgoaKIyam2PZUyaok7PIs-NoX_WxtLagHp-HZ4NlouUfa-GnzRi_NVDyPdAzt1K73VsQZe6aqYFQ4iqPq_mRdHZ9tiwyHLMpa_Ij3y5Ng3SKrgGaurSF7I_rFjO4V/s16000/Asteroid%20City.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Universal Pictures Switzerland / © 2023 Focus Features, LLC.</td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>5</b></span><br />
<span style="font-size: large;">Asteroid City</span><br />
directed by Wes Anderson<br />
<span style="font-size: x-small;">(United States, 2023)</span><br /></div><div><br />
By its own internal logic, Wes Anderson’s <i>Asteroid City</i> is a film based on a play performed in the context of a television documentary about the inner workings of a theatre. It’s a Russian-doll narrative Anderson has used many times before – most recently in 2021’s highly underrated <i><a href="https://www.maximumcinema.ch/the-french-dispatch-von-wes-anderson/">The French Dispatch</a></i> – and which might, along with his trademark pastel-colour palette and symmetrical approach to shot composition, prompt some viewers to dismiss his latest as a complacent calcification of a once-novel style, as rote repetition veering into self-parody. In fact, those criticisms have been levied against Anderson for at least a decade at this point – yet so far, his films have steadfastly refused to make them seem justified. And <i>Asteroid City</i> is no exception. Like many of Anderson’s works, it is, at its core, a very simple affair – a self-reflexive paean to the collective nature of art, baked into a deeply affecting story of grief and self-discovery. Indeed, <i>Asteroid City</i> makes much of this explicit: its narrative revolves around a freshly-widowed war photographer (played by Jason Schwartzman, delivering a career-best performance) struggling to break the news to his four children whilst stranded in a desert town that is about to have a brush with infinity (and the military-industrial complex) – a narrative that doubles as a celebration of storytelling itself, considering that its emotional impact isn’t hampered in the slightest by the various framing devices and their repeated insistence that the central story is completely fictional. What’s more, the film also features perhaps Anderson’s most beautiful imagery to date, courtesy of Robert Yeoman’s sumptuous desert location photography that harmonises effortlessly with the emphatic artifice of Adam Stockhausen’s production design. Don’t listen to the naysayers: <i>Asteroid City</i> is further proof that Anderson is one of the finest American directors working today. <b><i>Asteroid City</i> is available on Sunrise TV, Microsoft Store, blue TV, Apple TV, Google Play, Rakuten, Sky, DVD, and Blu-ray.</b> <i>(<a href="https://www.facingthebittertruth.com/2023/07/asteroid-city.html">Read my full review.</a>)</i>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGV4sIHDoYV1FMjc_aE1TXMkigGYazy5OtmpFIpfeJnalT1ZaAmR95srtfLzX3Wh6rDaYLGqGVSC7pSoCU3iykY-muvrQw43DgUH2tXgFdmGZIRvu5SAYKuR3j7DwA_0dzjmUzg4KXVSK9PvjMkJtgT-FW8JKbC87DYNhyphenhyphen5GSTcPv21rioIhEghtPtqEdx/s520/Roter%20Himmel.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="347" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGV4sIHDoYV1FMjc_aE1TXMkigGYazy5OtmpFIpfeJnalT1ZaAmR95srtfLzX3Wh6rDaYLGqGVSC7pSoCU3iykY-muvrQw43DgUH2tXgFdmGZIRvu5SAYKuR3j7DwA_0dzjmUzg4KXVSK9PvjMkJtgT-FW8JKbC87DYNhyphenhyphen5GSTcPv21rioIhEghtPtqEdx/s16000/Roter%20Himmel.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Filmcoopi Zürich AG</td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>4</b></span><br />
<span style="font-size: large;">Afire</span><br />
directed by Christian Petzold<br />
<span style="font-size: x-small;">(<i>Roter Himmel</i>, Germany, 2023)</span><br /></div><div><br />
"Love’s gonna make us, gonna make us blind," goes the song by Austrian indie pop band Wallners that plays over the opening moments of <i>Afire</i> – providing something of a thesis statement for a film that expertly balances an Old-Hollywood sensibility for romantic attraction with a keen sense of all the lies people tend to tell themselves when they don’t want to hear an inconvenient truth. What may sound like an unwieldy pairing at first is, at this point, par for the course for Christian Petzold, the 63-year-old German director whose works – <i>Barbara</i> (2012), <i>Phoenix</i> (2014), <i>Transit</i> (2018), and <i><a href="https://www.maximumcinema.ch/undine-von-christian-petzold/">Undine</a></i> (2020) among them – routinely toe the line between swooning melodrama and the leftist essay filmmaking of Petzold’s late erstwhile collaborator Harun Farocki. Unsurprisingly, then, <i>Afire</i> is a demonstration of Petzold’s mastery of tonal, thematic, and emotional control. Set in and around a holiday home by the German Baltic Sea coast, the film stars Thomas Schubert, Paula Beer, Langston Uibel, and Enno Trebs as a quartet of twentysomethings trying to navigate the awkward group dynamics, which start to develop mostly as a result of Schubert’s protagonist’s refusal to enjoy himself – all while the nearby seaside resort is anxiously watching the approaching wildfires on the horizon. Around this set-up, Petzold constructs an enormously appealing summer hangout movie – indulging in all the lengthy conversations, narrative deceleration, and lush hues of green and blue that the genre implies – which, thanks to Schubert’s almost hilariously abrasive lead performance, is pervaded by a constant feeling of unease. And indeed, once <i>Afire</i> tips its hand well into the second half, it reveals itself as both a densely layered romantic melodrama about self-delusion and the soul-healing capacity of emotional sincerity and a sharply perceptive parable about coming of age in the era of runaway climate change. This is Petzold at his novelistic, atmospheric, and slyly political best. <b><i>Afire</i> is available on Sunrise TV, Filmingo, Kino on Demand, blue TV, Apple TV, Google Play, Sky, DVD, and Blu-ray.</b>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir0yip680RL0CRf41a1v0SVr5WxtDhSXO3F0wFWy_IkWusaQ2R2ci6lxNkzDy5KTmHsQql_yjXr9WXClvoS4XLCA1gHmPZzWz293fnDmX5kSQJ4hOAtJYKzaLK0-4s80Nw5vEYkqOremCcyeq-aWC1AotxfDtUcjWT3DjARM4xBlQsHm0GH24cFh-6_3dA/s520/Aftersun.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="293" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir0yip680RL0CRf41a1v0SVr5WxtDhSXO3F0wFWy_IkWusaQ2R2ci6lxNkzDy5KTmHsQql_yjXr9WXClvoS4XLCA1gHmPZzWz293fnDmX5kSQJ4hOAtJYKzaLK0-4s80Nw5vEYkqOremCcyeq-aWC1AotxfDtUcjWT3DjARM4xBlQsHm0GH24cFh-6_3dA/s16000/Aftersun.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Outside the Box<br /></td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>3</b></span><br />
<span style="font-size: large;">Aftersun</span><br />
directed by Charlotte Wells<br />
<span style="font-size: x-small;">(United Kingdom/United States, 2022)</span><br /></div><div><br />
The emotionally intimate directorial debut drawn from personal experience has become a staple of the international festival circuit, to a point where most of its representatives struggle to add anything particularly noteworthy to the format – which, as a result, is starting to look increasingly stale. Enter <i>Aftersun</i>, which, like <i>Saint Omer</i>, premiered at Cannes in 2022: told as a series of memories of a trip to Turkey the adult protagonist took with her young father when she was eleven – memories triggered by video camera footage, an innocuous rug, a baby crying in the next room – Charlotte Wells’ sun-drenched, movingly low-key, purposefully elliptical father-daughter drama accumulates carefully observed character, milieu, and 1990s period detail over the course of its lovingly languid 100-minute runtime, before delivering a truly breathtaking emotional coda that only becomes more rewarding with repeated viewings. <i>Aftersun</i>, for all its gentle touches and bursts of affability, courtesy of Paul Mescal and Frankie Corio’s layered lead performances, is a strikingly incisive, quietly devastating exploration of childhood recollection and the formative realisation that one’s own parents are neither omniscient nor omnipotent, but flawed human beings in perennial search of happiness themselves. <b><i>Aftersun</i> is available on DVD and Blu-ray.</b> <i>(<a href="https://www.maximumcinema.ch/aftersun-von-charlotte-wells/">Read my full review.</a>)</i>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgART5Aoe2X_Rc4y-ZchRuPYjjZNesEox5kHXy6XWKD1yuA5Lm-bT3NE6xhr8Eu5gTBv9prswt-YJ95ekDW-PigUy5v5vkSOm0qU25fsBYwcF-o5HFwtAlJnjTLmvrqL2x0JZvQnmJvwJ9xOv0-_tYiZt7BCRjd6e1sQ-H9OQx3AI2L4z4JpUUAlQi8bgH-/s520/Fallen%20Leaves.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="347" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgART5Aoe2X_Rc4y-ZchRuPYjjZNesEox5kHXy6XWKD1yuA5Lm-bT3NE6xhr8Eu5gTBv9prswt-YJ95ekDW-PigUy5v5vkSOm0qU25fsBYwcF-o5HFwtAlJnjTLmvrqL2x0JZvQnmJvwJ9xOv0-_tYiZt7BCRjd6e1sQ-H9OQx3AI2L4z4JpUUAlQi8bgH-/s16000/Fallen%20Leaves.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Filmcoopi Zürich AG</td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>2</b></span><br />
<span style="font-size: large;">Fallen Leaves</span><br />
directed by Aki Kaurismäki<br />
<span style="font-size: x-small;">(<i>Kuolleet lehdet</i>, Finland/Germany, 2023)</span><br /></div><div><br />
66-year-old Finnish auteur Aki Kaurismäki shares some similarities with Wes Anderson: both work with a consistent colour palette (light pastels here, nicotine-stained saturation there); both have a predilection for hyper-stylised dialogue delivered in a deadpan monotone; both directors’ instantly recognisable styles have drawn undeserved criticism for allegedly keeping them from evolving artistically. And both had a new film in cinemas in 2023, both of which are among the best of the year. <i>Fallen Leaves</i>, Kaurismäki’s 21st feature and his first since 2017’s <i><a href="https://www.maximumcinema.ch/side-hope-von-aki-kaurismaeki/">The Other Side of Hope</a></i>, is yet another masterpiece of Finnish sad-sack tragicomedy, chronicling, in Chaplinesque simplicity, the beleaguered romance between supermarket shelf stocker Ansa (Alma Pöysti) and alcoholic builder Holappa (Jussi Vatanen): amid capitalist exploitation and the increasingly dire news about war-torn Ukraine being reported on their respective radios, the two engage in the simplest of joys – having coffee together, eating dinner, going to see a movie. But Kaurismäki, as much a believer in working-class solidarity as he is an Old-Hollywood romantic, isn’t advocating for apathetic solipsism here: rather, <i>Fallen Leaves</i> is a timely – and gently funny – reminder of the importance of holding on to one’s humanity, to one’s principles, to one’s own belief in love and friendship in times of social and political upheaval. Not only does the film manage to convey these layered emotions without succumbing to cheap sentimentality and – at just 82 minutes – with a minimum of narrative fuss; Kaurismäki and cinematographer Timo Salminen convey them in some of the most evocative combinations of colour, light, and shadow that graced cinema screens in 2023. Like the best cinematic romances, <i>Fallen Leaves</i> is at once melancholy and hopeful, full of heightened artifice and genuine feeling, fully subscribing to the old adage that in order to improve the world, we must first imagine a better one. <b><i>Fallen Leaves</i> is currently playing in Swiss cinema, and it is available on Filmingo as well as on DVD and Blu-ray (as of 18 January 2024).</b> <i>(<a href="https://www.maximumcinema.ch/fallen-leaves-von-aki-kaurismaeki/">Read my full review.</a>)</i>
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<br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkkikZTEGB5y6xV5kha0tKs_wmJJTyjhoC8HJq8yFm2VhRr9h1relspNbk6B0JNw9ob9xAKgKoAVPyZkVii5663p_2XKZOQeys5KuFr3Fr3XLBPd3bRmu7PMOuwcEkq2_7PiKa6WsGdZaEP7Z0we6tmdsTz5JfziwbAp6DrSK1DB6Ly8RS6s6S94fUf0Ms/s520/La%20chimera.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="281" data-original-width="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkkikZTEGB5y6xV5kha0tKs_wmJJTyjhoC8HJq8yFm2VhRr9h1relspNbk6B0JNw9ob9xAKgKoAVPyZkVii5663p_2XKZOQeys5KuFr3Fr3XLBPd3bRmu7PMOuwcEkq2_7PiKa6WsGdZaEP7Z0we6tmdsTz5JfziwbAp6DrSK1DB6Ly8RS6s6S94fUf0Ms/s16000/La%20chimera.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Filmcoopi Zürich AG</td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: large;"><b>1</b></span><br />
<span style="font-size: large;">La chimera</span><br />
directed by Alice Rohrwacher<br />
<span style="font-size: x-small;">(Italy/France/Switzerland, 2023)</span><br /></div><div><br />
With 2018’s <i><a href="https://www.maximumcinema.ch/lazzaro-felice-von-alice-rohrwacher/">Happy as Lazzaro</a></i>, her fourth feature, Italian writer-director Alice Rohrwacher emphatically made herself known to a wider international audience, thanks to her canny blend of grounded fantasy, playful Christian parable, and a magic-infused social realism borrowed from the likes of Francesco Rosi (<i>Christ Stopped at Eboli</i>) and Ettore Scola (<i>We All Loved Each Other So Much</i>). With her latest, the achingly poetic – and wryly funny – <i>La chimera</i>, she firmly establishes herself as one of Europe’s premier filmmakers under 45. Set in 1980s Tuscany and following a group of amateur archaeologists, who make a living by robbing Etruscan graves in a countryside that’s gradually being overtaken by both industry and poverty, Rohrwacher’s narratively and tonally freewheeling film deepens many of the themes that made <i>Happy as Lazzaro</i> such a rewarding experience: <i>La chimera</i>, too, features a protagonist out of step with his time, place, and plane of existence; and he, too, is confronted with – and has to learn how to navigate – the ineffable connections between the land and the people who walk upon it. While this is a risky proposition especially in a European context – given the continent’s bloody history of nativist ideology – Rohrwacher expertly sidesteps these pitfalls, focusing not on who "truly" belongs where, but on all the ways in which a place can become imbued with meaning and soul. "What do you see?", a character asks in one of the opening scenes; and the response he receives – "People" – reverberates throughout the rest of the film’s explorations of cultural heritage, the facelessness of capital, and the question how seriously one must take the beliefs of those who came before us and whose names, faces, and beliefs were forgotten thousands of years ago. The ideas <i>La chimera</i> works through are endlessly fascinating, and, in true Rohrwacher fashion, it does so with visual verve, the courage to break conventional modes of storytelling, and an infectious sense of whimsy. <b><i>La chimera</i> is currently playing in cinemas in the French- and Italian-speaking regions of Switzerland.</b> <i>(<a href="https://www.maximumcinema.ch/la-chimera-von-alice-rohrwacher/">Read my full review.</a>)</i> </div>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-7546484492228446032023-12-12T22:30:00.001+01:002024-01-03T13:17:40.737+01:00Maximum Cinema Filmpodcast #67: "Candy Cane Lane" & "Gremlins"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/s2048/Pod_4500_3000-2048x1365.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/w400-h266/Pod_4500_3000-2048x1365.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Olivier Samter<br /></td></tr></tbody></table><br />
In <b><a href="https://www.maximumcinema.ch/podcast-67-candy-cane-lane-gremlins/">Episode 67</a></b> des <i>Maximum Cinema</i>-Podcasts diskutieren Olivier, Olivia und ich über den Prime-Video-Weihnachtsfilm <i>Candy Cane Lane</i> mit Eddie Murphy sowie über Joe Dantes anarchischen Weihnachtsklassiker <i>Gremlins</i> von 1984. Zudem stellen wir uns einer ganzen Reihe weihnächtlicher Film- und Serienfragen – mit überraschenden Antworten. Der Podcast ist auf allen gängigen Plattformen verfügbar.Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-60943871455400497002023-12-05T23:30:00.001+01:002023-12-06T16:49:23.788+01:00Wish<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYU-aIV0cJnZnTPB_g8NoxY1Slotm2ghoKiYPwtyA8QSO8VlCYrig8YDQQDTQ0MX-2psTDeU2cLjweoafGU1Xgb7QmsrCrJe15XXHhr_ReYUFsOcH92h1tGbHPpyn6X6igvDJpdMigTQT2rdnAu-s6nFtHrrKCyoxfsmqWI9qIcHNB8_SjzewpvlkKCByB/s1400/WISH_FILM_KINO_SCHWEIZ_KRITIK.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="548" data-original-width="1400" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYU-aIV0cJnZnTPB_g8NoxY1Slotm2ghoKiYPwtyA8QSO8VlCYrig8YDQQDTQ0MX-2psTDeU2cLjweoafGU1Xgb7QmsrCrJe15XXHhr_ReYUFsOcH92h1tGbHPpyn6X6igvDJpdMigTQT2rdnAu-s6nFtHrrKCyoxfsmqWI9qIcHNB8_SjzewpvlkKCByB/w400-h156/WISH_FILM_KINO_SCHWEIZ_KRITIK.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© The Walt Disney Company Switzerland. All Rights Reserved.<em><strong><br />
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★★<br />
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"Das liesse sich verschmerzen, wenn der Film anderweitige Anstalten machen würde, das Studio-Jubiläum erinnerungswürdig zu begehen. Leider aber verwenden die Drehbuchautor*innen Buck, Veerasunthorn, Jennifer Lee und Allison Moore viel mehr Mühe darauf, die Vergangenheit zu 'ehren' – sprich: das Publikum bei den Kindheitserinnerungen zu packen – als sich vorzustellen, wie die nächsten 100 Disney-Jahre aussehen könnten."<br />
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<span style="font-size: x-small;">Ganze Kritik auf <span style="font-style: italic;"><a href="https://www.maximumcinema.ch/wish-von-chris-buck-und-fawn-veerasunthorn/" style="color: #cc0000;">Maximum Cinema</a></span></span><span style="font-size: x-small;"></span>
Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-77956563087462216262023-12-01T11:00:00.001+01:002023-12-06T16:52:44.371+01:00 "Las Toreras" grabs Spanish-Swiss tragedy by the horns<blockquote class="twitter-tweet"><p lang="en" dir="ltr">'Las Toreras', a documentary by Swiss artist Jackie Brutsche, tells a story of art and reconciliation, of a family taboo and of a suicide causing a rift in a Spanish-Swiss family. <a href="https://t.co/uadGspyLow">https://t.co/uadGspyLow</a></p>— swissinfo.ch (@swissinfo_en) <a href="https://twitter.com/swissinfo_en/status/1730499167422673225?ref_src=twsrc%5Etfw">December 1, 2023</a></blockquote> <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
"<i>Las Toreras</i> chronicles – and, in doing so, strives to unpack – the complex prehistory, the multi-layered aftermath and the border-crossing emotional fallout of a singular traumatic event in Brutsche’s life: in 1987, when she was just ten years old, her Spanish-born mother, Carmen, killed herself in Zurich’s Oerlikon district."
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<span style="font-size: x-small;">Full article available at <span style="font-style: italic;"><a href="https://www.swissinfo.ch/eng/culture/-las-toreras--grabs-spanish-swiss-tragedy-by-the-horns-49003180?utm_content=o&utm_campaign=own-posts&utm_medium=socialflow&utm_source=twitter">swissinfo</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-57008028537067397462023-11-21T23:00:00.001+01:002023-12-06T16:44:54.970+01:00Maximum Cinema Filmpodcast #66: "The Boy and the Heron" & "Anatomie d'une chute"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/s2048/Pod_4500_3000-2048x1365.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/w400-h266/Pod_4500_3000-2048x1365.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Olivier Samter<br /></td></tr></tbody></table><br />
In <b><a href="https://www.maximumcinema.ch/podcast-66-the-boy-and-the-heron-anatomie-dune-chute/">Episode 66</a></b> des <i>Maximum Cinema</i>-Podcasts besprechen Olivier, Olivia und ich <i>The Boy and the Heron</i>, den sehnlichst erwarteten neuen Film von Hayao Miyazaki, und den eindringlichen Palme-d'or-Gewinner <i>Anatomie d'une chute</i> von Justine Triet. Ausserdem: Was ist der beste Kino-Snack? Die Meinungen gehen auseinander. Der Podcast ist auf allen gängigen Plattformen verfügbar.Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-30840193082012820332023-10-31T23:30:00.001+01:002023-11-09T12:25:30.546+01:00Maximum Cinema Filmpodcast #65: Zwei schwarze Vögel zu Halloween<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/s2048/Pod_4500_3000-2048x1365.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/w400-h266/Pod_4500_3000-2048x1365.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Olivier Samter<br /></td></tr></tbody></table><br />
In <b><a href="https://www.maximumcinema.ch/podcast-65-zwei-schwarze-voegel-zu-halloween/">Episode 65</a></b> des <i>Maximum Cinema</i>-Podcasts besprechen Olivia und ich <i>The Fall of the House of Usher</i>, die neue Netflix-Miniserie von Horrorexperte Mike Flanagan (<i>The Haunting of Hill House</i>), bevor sich Olivier zur Diskussion dazugesellt und wir uns Elene Naverianis einfühlsames Drama <i>Blackbird Blackbird Blackberry</i> vornehmen. Der Podcast ist auf allen gängigen Plattformen verfügbar.Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-42468296784826818202023-10-26T16:30:00.001+02:002023-11-09T12:30:05.123+01:00Dumb Money<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizejK68n2fHI47R70_UKMe0z0LDMg1Q4H3nebOC1VyXnYFRNOZ1b5x8y0yTi-JiM2FtZiq-87-TAzwbveGcF6z-JHcrJwVs9IM7ObiRrMapPkCw6P_35Xv7qjm1sTcYLKvPGMB4SzAo_ShMDCNup-jMMQTa40T8voM2JYeLFgTvn7SJIdswnwWthz2Zqie/s1400/DUMB-MONEY_FILM_KINO_SCHWEIZ_KRITIK.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="933" data-original-width="1400" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizejK68n2fHI47R70_UKMe0z0LDMg1Q4H3nebOC1VyXnYFRNOZ1b5x8y0yTi-JiM2FtZiq-87-TAzwbveGcF6z-JHcrJwVs9IM7ObiRrMapPkCw6P_35Xv7qjm1sTcYLKvPGMB4SzAo_ShMDCNup-jMMQTa40T8voM2JYeLFgTvn7SJIdswnwWthz2Zqie/w400-h266/DUMB-MONEY_FILM_KINO_SCHWEIZ_KRITIK.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="ftext">© 2023 Ascot Elite Entertainment. All Rights Reserved.</span></td></tr></tbody></table><br />
★<br />
<br />
"Entsprechend schwer fällt es, <i>Dumb Money</i> die antielitäre Rhetorik abzunehmen. Die ostentativ zur Schau gestellte Empörung über die Ränkespiele von Gabe Plotkin, Steve Cohen und Ken Griffin, die gönnerhaft belächelte Naivität von Start-up-Bros wie Vlad Tenev und Baiju Bhatt, die ganzen Verneigungen vor der Macht der 'roaring kitties' – den bissigen Kleinanleger*innen –, ja selbst der kompetente Erzählfluss und die sympathische Schauspielleistung des wie immer verlässlichen Paul Dano: Sie alle täuschen letztlich nicht über den kalkulierten Zynismus von Gillespies Film hinweg."<br />
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<span style="font-size: x-small;">Ganze Kritik auf <span style="font-style: italic;"><a href="https://www.maximumcinema.ch/dumb-money-von-craig-gillespie/" style="color: #cc0000;">Maximum Cinema</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-68836963238076829302023-10-18T16:46:00.003+02:002023-10-18T16:47:32.556+02:00Killers of the Flower Moon<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk2kTKRocmCagkU0qlbvRkvCaC5MBitfmi7YFhX7f5R85_Lp1Do7pCVTgvtdSD1fAhT0T0VOC9Mt5npfnVnxb9EfkeXpEKS_e4PUeW6GErBJhSVN_kUsGwgr9BOEjticrsJeVCrg4EUyx6rWLCOkMqFqSF_4cjztZqAIbzzmVI-zMHDFVstgDxRLKY7t3k/s1400/KILLERS-OF-THE-FLOWER-MOON_FILM_KINO_KRITIK_SCHWEIZ4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="933" data-original-width="1400" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk2kTKRocmCagkU0qlbvRkvCaC5MBitfmi7YFhX7f5R85_Lp1Do7pCVTgvtdSD1fAhT0T0VOC9Mt5npfnVnxb9EfkeXpEKS_e4PUeW6GErBJhSVN_kUsGwgr9BOEjticrsJeVCrg4EUyx6rWLCOkMqFqSF_4cjztZqAIbzzmVI-zMHDFVstgDxRLKY7t3k/w400-h266/KILLERS-OF-THE-FLOWER-MOON_FILM_KINO_KRITIK_SCHWEIZ4.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© 2023 Paramount Pictures. All Rights Reserved.</td></tr></tbody></table><br />
★★★★★<br />
<br />
"Unterstützt von Robbie Robertsons unheimlich pulsierendem Musikscore und den gespenstischen Echos von Volksliedern aus der amerikanischen Tradition, mutet <i>Killers of the Flower Moon</i> bisweilen an wie ein langer, von schwelendem Zorn geprägter Trauerzug – ein Trauerzug, bei dem sowohl die brutal ermordeten Osage als auch die Fantasie einer glorreichen US-Geschichte zu Grabe getragen werden: Der Reichtum der modernen USA ist, so der Film, mit dem Blut jener beschmiert, die von der weissen Mehrheit jahrhundertelang für minderwertig befunden wurden."<br />
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<span style="font-size: x-small;">Ganze Kritik auf <span style="font-style: italic;"><a href="https://www.maximumcinema.ch/killers-of-the-flower-moon-von-martin-scorsese/" style="color: #cc0000;">Maximum Cinema</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-1755234403307008432023-10-11T14:43:00.000+02:002023-10-11T14:43:00.311+02:00Maximum Cinema Filmpodcast #64: Das war das Zurich Film Festival 2023!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/s2048/Pod_4500_3000-2048x1365.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/w400-h266/Pod_4500_3000-2048x1365.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Olivier Samter<br /></td></tr></tbody></table><br />
In <b><a href="https://www.maximumcinema.ch/podcast-64-das-war-das-zurich-film-festival-2023/">Episode 64</a></b> des <i>Maximum Cinema</i>-Podcasts blicken Olivia, Olivier und ich auf das Zurich Film Festival 2023 zurück und reden über estnische Saunas, etruskische Gräber und polarisierende Holocaust-Dramen. Ausserdem: Was waren die grössten Enttäuschungen? Welches war das beste Kino? Und wie viele Leute haben den Saal beim neuen Film von Harmony Korine verlassen? Der Podcast ist auf allen gängigen Plattformen verfügbar.Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-58837840593587103502023-10-10T21:30:00.001+02:002023-10-11T14:38:37.747+02:00La chimera<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN448uC9vgMFf8Jx4H7-W6u8Dqz8XTvr8pKC1U1A1berR3_Vkhj03uUYjAQo1322GQLpUziB6ao-rixS0weIbU1s6BL-0ALJWRvl17ZXctq6gZOoJ-Hjvibxx4Hu2PUMzqrblA0j01t4WivaxVJB5baKJUV0eun-aoS9n54UnGog7JEyu-RkCJp8WQQ7-4/s1400/LA-CHIMERA_FILM_KINO_SCHWEIZ_KRITIK.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="757" data-original-width="1400" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN448uC9vgMFf8Jx4H7-W6u8Dqz8XTvr8pKC1U1A1berR3_Vkhj03uUYjAQo1322GQLpUziB6ao-rixS0weIbU1s6BL-0ALJWRvl17ZXctq6gZOoJ-Hjvibxx4Hu2PUMzqrblA0j01t4WivaxVJB5baKJUV0eun-aoS9n54UnGog7JEyu-RkCJp8WQQ7-4/w400-h216/LA-CHIMERA_FILM_KINO_SCHWEIZ_KRITIK.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Filmcoopi Zürich AG</td></tr></tbody></table><br />
★★★★★<br />
<br />
"So erwischt einen <i>La chimera</i> immer wieder auf dem falschen Fuss, ohne jedoch die eigene emotionale und metaphorische Schlagkraft zu beeinträchtigen. Was als zärtliche, mitunter ironisch gebrochene Geschichte eines Aussenseiters, der gleich in mehrerlei Hinsicht in der Vergangenheit lebt, beginnt, entwickelt sich nach und nach in eine faszinierende Auseinandersetzung mit Sinn und Unsinn von Archäologie, mit der Monetarisierung von kulturellem Erbe und – nicht zuletzt – mit den unsichtbaren Fäden, die Menschen und Orte miteinander verbinden."<br />
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<span style="font-size: x-small;">Ganze Kritik auf <span style="font-style: italic;"><a href="https://www.maximumcinema.ch/la-chimera-von-alice-rohrwacher/" style="color: #cc0000;">Maximum Cinema</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-29782225915554435342023-10-05T22:30:00.001+02:002023-10-11T14:35:55.148+02:00Poor Things<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg15avHjqIA7zH2rOwdiz1Vvh-k6XMb-OQWTNAE_l2nYzP6cYoRd4ptktyrm7oNqUdnrH9qFcU7wZNfCiENDZco8ejgZCH2Uow9Mlij9Q3SNi65RdodghAiHaTJAkVccViyKpC98EvHVsIEb7A-wKTk_-8r_dWug1P3_22sFdLq4tPJAtq5kQzJS37ml5wh/s1400/POOR-THINGS_FILM_KINO_SCHWEIZ_KRITIK.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="933" data-original-width="1400" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg15avHjqIA7zH2rOwdiz1Vvh-k6XMb-OQWTNAE_l2nYzP6cYoRd4ptktyrm7oNqUdnrH9qFcU7wZNfCiENDZco8ejgZCH2Uow9Mlij9Q3SNi65RdodghAiHaTJAkVccViyKpC98EvHVsIEb7A-wKTk_-8r_dWug1P3_22sFdLq4tPJAtq5kQzJS37ml5wh/w400-h266/POOR-THINGS_FILM_KINO_SCHWEIZ_KRITIK.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Searchlight Pictures. All Rights Reserved.</td></tr></tbody></table><br />
★★★★<br />
<br />
"Diese freizügige, frivole Mischung aus Steampunk-Roadmovie, selbstreflexiver Sexkomödie und historischer Satire über die Prätentionen der 'Alten Welt' ist denn auch so unterhaltsam, wie man es vom Duo Lanthimos und McNamara erwarten durfte. Gerade die Gegenüberstellung der direkten Bella und dem in so vielen gesellschaftlichen Konventionen verhafteten Duncan, dass er selbst beim «Autsch»-Sagen nachdenken muss, zieht immer wieder herrlich schräge Slapstick-Momente nach sich – auch dank Emma Stone und Mark Ruffalo, deren theaterhafte Darbietungen McNamaras bewusst künstliche Dialoge optimal umsetzen."<br />
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<span style="font-size: x-small;">Ganze Kritik auf <span style="font-style: italic;"><a href="https://www.maximumcinema.ch/poor-things-von-yorgos-lanthimos/" style="color: #cc0000;">Maximum Cinema</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-8673281007872642532023-10-03T19:30:00.001+02:002024-03-15T17:48:32.783+01:00Zurich Film Festival's balancing act: #DontRockTheBoat<blockquote class="twitter-tweet"><p dir="ltr" lang="en">Substance or mere hashtags? The Zurich Film Festival nods to big contemporary issues, but in trying not to alienate, it might lose out on long-term relevance, writes film critic Alan Mattli. <a href="https://t.co/2D54wfZhho">https://t.co/2D54wfZhho</a></p>— swissinfo.ch (@swissinfo_en) <a href="https://twitter.com/swissinfo_en/status/1709184070352019500?ref_src=twsrc%5Etfw">October 3, 2023</a></blockquote> <script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script>
"We are now just over three years into the stewardship of artistic director Christian Jungen, the former head of culture at the weekly newspaper <i>NZZ am Sonntag</i>. There is one year to go until the ZFF’s 20th-anniversary edition, which it will likely seek to mark with all the pomp and circumstance its considerable public and private funds can muster. So it seems pertinent to ask the question again: what does the ZFF stand for? "
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<span style="font-size: x-small;">Full article available at <span style="font-style: italic;"><a href="https://www.swissinfo.ch/eng/culture/zurich-film-festival-s-balancing-act-don-t_rock_the_boat/48855288">swissinfo</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-44687780741898934152023-09-23T23:59:00.001+02:002023-09-27T11:24:33.772+02:00Fallen Leaves<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi712MI_WSHm41DP9vyM2uq_QR59bXpXwcsd-YE1X4a_edN26Q12ZaGrygpvJ_LkXPbC_RjHKbYsw6CKKd15x7O1j6Og8w6Iba4WKwP_rflaGA7fWNmeMgiASmhByeszBQ0Zx4CIis7ap9obMK-9lGdHDiKbs6d7DR_fEFBFEjyVVXNawFs_Y5_Xs7bTQnH/s1400/Fallen%20Leaves.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="935" data-original-width="1400" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi712MI_WSHm41DP9vyM2uq_QR59bXpXwcsd-YE1X4a_edN26Q12ZaGrygpvJ_LkXPbC_RjHKbYsw6CKKd15x7O1j6Og8w6Iba4WKwP_rflaGA7fWNmeMgiASmhByeszBQ0Zx4CIis7ap9obMK-9lGdHDiKbs6d7DR_fEFBFEjyVVXNawFs_Y5_Xs7bTQnH/w400-h268/Fallen%20Leaves.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Filmcoopi Zürich AG</td></tr></tbody></table><br />
★★★★★<br />
<br />
"Denn sosehr der Film auch von seiner Retro-Ästhetik lebt – vom angejahrten primärfarbenen Dekor bis hin zu den präzise ausgeleuchteten, unverhohlen künstlichen und genau darum umso eindringlicheren Kompositionen von Kaurismäkis langjährigem Hauskameramann Timo Salminen –, seine Vision ist ganz in der zeitgenössichen Realität und den immer noch hochgradig relevanten politischen Anliegen von Kaurismäkis Werk verankert: Der Kampf gegen die kriegstreibenden Despot*innen dieser Welt – und ihren Steigbügelhalter, das Kapital – dauert ebenso an wie das Streben nach umfassender sozialer Gerechtigkeit."<br />
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<span style="font-size: x-small;">Ganze Kritik auf <span style="font-style: italic;"><a href="https://www.maximumcinema.ch/fallen-leaves-von-aki-kaurismaeki/" style="color: #cc0000;">Maximum Cinema</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-19666338050966558372023-08-31T20:30:00.001+02:002023-09-20T10:03:46.044+02:00Documentary shows the concrete reality of Le Corbusier’s Indian utopia<blockquote class="twitter-tweet"><p lang="en" dir="ltr">A new film about Chandigarh, the Indian city planned by star architect Le Corbusier, raises questions about cultural imperialism and the requisite “Swissness” of Swiss documentaries. <a href="https://t.co/hEAsD1tj3E">https://t.co/hEAsD1tj3E</a></p>— swissinfo.ch (@swissinfo_en) <a href="https://twitter.com/swissinfo_en/status/1697144741463269878?ref_src=twsrc%5Etfw">August 31, 2023</a></blockquote> <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
"What <i>The Power of Utopia</i> sets out to explore through its collage of archival images, Le Corbusier quotes, interviews with local artists, architects, and urban activists, and architectural vistas – most of them filmed on the many cycling tours Karrer and Bucher took through the city during their eight-month artists' residency – is the relationship between Chandigarh's utopian blueprints and its existence as an actual physical space."
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<span style="font-size: x-small;">Full article available at <span style="font-style: italic;"><a href="https://www.swissinfo.ch/eng/culture/documentary-shows-the-concrete-reality-of-le-corbusier-s-indian-utopia/48759324">swissinfo</a></span></span><span style="font-size: x-small;"></span>Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0tag:blogger.com,1999:blog-4008558591241381689.post-91396109398314063702023-08-29T14:00:00.002+02:002023-10-11T14:33:07.720+02:00Maximum Cinema Filmpodcast: Barbenheimer and Beyond<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/s2048/Pod_4500_3000-2048x1365.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOggThtGs1OZ1jVfuV42wJIsv4-GcB0iQUn01a5C7kb-D-SIvL0uVDh3X__hiQ0hA-DQk-tXSG9i1uZ_lgLa56Z3Vv0uWMIpB987B5zmhkBlBWSxiAqEHnL50KMS9OyNGuFEaIhklcUonbnaZ0mGcLzsCr8v4HeTCdBsYetZtVBoUebOOMtFjxzYSLlkAa/w400-h266/Pod_4500_3000-2048x1365.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">© Olivier Samter<br /></td></tr></tbody></table><br />
In einer <b><a href="https://www.maximumcinema.ch/sommer-blockbuster-special-barbenheimer-and-beyond/">Spezialepisode</a></b> des <i>Maximum Cinema</i>-Podcasts lassen Olivia, Olivier und ich den Blockbuster-Sommer 2023 Revue passieren: Wir schwelgen in Erinnerung ans <i>Barbie</i>- und <i><a href="https://www.maximumcinema.ch/oppenheimer-von-christopher-nolan/">Oppenheimer</a></i>-Double-Feature; wir sind uns uneinig über <i>Mission: Impossible – Dead Reckoning Part One</i>; wir nehmen Wes Andersons <i><a href="https://www.facingthebittertruth.com/2023/07/asteroid-city.html">Asteroid City</a></i> unter die Lupe; und wir klopfen die heiss diskutierten Sequels <i>Spider-Man: Across the Spider-Verse</i> und <i>Indiana Jones and the Dial of Destiny</i> ab. Der Podcast ist auf allen gängigen Plattformen verfügbar.Alan_Mattlihttp://www.blogger.com/profile/16546652613713922232noreply@blogger.com0