On April 4, a number of films were released, including Bertrand Bonello’s fantastic melodrama “Premonition” and Michael Keaton’s thriller “Hitman. Last thing.» What to watch in the cinema this weekend — in the «Kommersant» selection.
Arthur, you are the king Premonition White plastic sky Hitman . The last case Geniuses I am a captain Maternal instinct Abnormal Tales of Hoffmann A better life 
Arthur, you are the King
- Director: Simon Cellan Jones
- Cast: Mark Wahlberg, Simu Liu, Juliet Rylance, Nathalie Emmanuel, Ali Suliman, Bear Grylls
- Genre: adventure/USA/107 min.
< li class="doc_board__post">In theaters: from April 4
Film critic Yulia Shagelman:“Arthur is based on a true story, more precisely, on a book that Swedish extreme athlete Mikael Lindnord wrote about how, during an adventure race in Ecuador in 2014, he met a stray dog, became his best friend and took him to his homeland . In the film, Swede Mikael turned into American Michael — played by Mark Wahlberg, who for some time now has been trying to choose only positive roles, in accordance with the values that are important to him as a convinced Catholic and father of four children. The fateful race on screen moved from Ecuador to the Dominican Republic. And completely behind the scenes there was a scandal that happened when the dog Lindnord rescued was found to have an owner whose opinion no one even asked before “saving” his dog. Perhaps, such a storyline would indeed not look very appropriate in an exceptionally uplifting film. However, you can’t do without conflict in a movie, so Michael even has shortcomings at the beginning: stubbornness and selfishness, which prevent him from listening to the opinions of his teammates during the next race.”
More about film — in the Kommersant material “The Dog Confused.”
Premonition
- Director: Bertrand Bonello
- Cast: Léa Seydoux, George Mackay, Guslagi Malanga, Dasha Nekrasova, Martin Scali, Elina Lowenson
- Genre: fantasy, thriller, drama, melodrama/France, Canada/146 min
- In theaters: from April 4
Review of “Kommersant-Weekend”:«»Do you remember me? We met in Rome.» — «I remember, but wasn't it Naples?» The conversation takes place in a Paris salon in 1910, pianist Gabrielle (Léa Seydoux) talks with the impressive British man Louis (George MacKay). The dialogue is reminiscent of the classic film by Alain Resnais “Last Year at Marienbad” — there, too, in the setting of a social evening, the characters tried to remember where they met, and could not remember exactly. In Rome? In Naples? In Marienbad? Last year? The year before last? In the world of Bertrand Bonello's «Premonition» time is changeable and unpredictable. After the meeting in the salon, a little over a hundred years will pass, and Gabriel and Louis will meet again — in 2014 in Los Angeles: now she is an aspiring actress, and he is an “incel”, a thirty-year-old virgin who decided to take revenge on the world for his failures. Another thirty years will pass — and in the world of the future, in 2044, the same, but completely different Gabrielle will come for the procedure of “cleaning DNA” and, it seems, clearing her memories.
The original title of «Premonitions» — «The Beast» — refers to the story of Henry James «The Beast in the Thicket», but although the American author is mentioned in all official summaries, calling Bonello's film an adaptation would be an exaggeration. Details are taken from the story, but first of all, the picture owes to James that vague “premonition” that moves the plot and which is so difficult to depict or describe.”
More details about the film can be found in the Kommersant-Weekend material » “Catastrophic fiction.”
White Plastic Sky
- Directors: Tibor Banocki, Sharolta Szabó
- Cast: Tamás Keresztes, Zsofia Samosi, Geza Hegedusz D., Judit Schell, István Znamenak
- Genre: cartoon, fantasy, drama, melodrama/Hungary, Slovakia/110 min
- In theaters: from April 4
Review of “Kommersant-Weekend” :“Happy people of the future eat each other, of course, not haphazardly. Up to fifty years — life, after — Sacrifice: an injection of mutagen that turns a person into a special tree. People thrive in the City, trees are cared for in the Plantation. Their leaves are used to prepare food for the survivors. The problem is that the trees are suitable for use only for three years — then the time of flowering comes, their pollen becomes deadly poisonous, so they are burned. It is impossible to stop the transformation scheme.
But you can speed up the process, don’t wait until you’re fifty, come to a special laboratory where they’ll give you an injection… This is exactly what the protagonist’s wife does: the family recently lost a son (the medicine of the future is also not up to par), and she can’t live with it.
And the main character can and decides to save his wife. By the way, he is a psychologist. Psychologists who, from childhood, prepare the residents of the City for the fact that at some point they will not only have to lose loved ones, but also eat them later, are, of course, very important people in this scheme.
This is the plot: the doctor tricks his way into the Plantation, and then the adventures begin. A viewer who has already seen at least a dozen of these films about the post-apocalypse, about the world after a catastrophe, where there is a closed ghetto for survivors, does not expect any special surprises: it is clear that behind the facade of a rationally organized society there are various dark secrets, things are not as they should be at first it seems, but the authorities are hiding a lot.”
More about the film in the Kommersant-Weekend material “One Hundred Years Ahead.”
Hitman. The Last Thing
- Director: Michael Keaton
- Starring : Michael Keaton, Al Pacino, James Marsden, Marcia Gay Harden, Ray McKinnon, Joanna Kulig
- Genre: thriller/USA/114 min .
- In theaters: from April 4
Film distributor «Atmosphere of Cinema»:“John Knox is a professional killer. His actions weigh heavily on his soul, and Knox plans to resign. However, the appearance of his son, Miles, on the doorstep — shocked, bleeding, begging for help — changes all plans. Enlisting the help of his old friend Javier, Knox must devise a complex scheme and confuse the police pursuing them in order to atone for his guilt and save his son, with whom he has not spoken for many years. To complicate the situation, John has been diagnosed with a rapidly developing form of dementia, and now the clock is ticking.” » alt=»Genius (Dance First, 2023)» />
Genius
- Director: James Marsh
- Cast: Gabriel Byrne, Aidan Gillen, Maxine Peake, Bronagh Gallagher, Robert Aramayo, Sandrine Bonner
- Genre: drama, biography/USA/100 min.
- In theaters: from April 4
Review of “Kommersant-Weekend” «:“1969, Stockholm, the Nobel Committee announces the winner of the prize for literature: Samuel Beckett. A lean man over sixty sitting in the hall shudders and whispers: “Disaster!” — and, with difficulty getting on stage, organizes the very theater of the absurd for which he is awarded. Having snatched the check with the prize money from the hands of the organizers, Beckett climbs the ladder somewhere under the ceiling, knocks down the spotlight and finds himself in a very conventional megalithic cave somewhere behind the scenes. This is an inner world where the writer can talk to himself, the same lean, only slightly more comfortably dressed Gabriel Byrne, who plays the role of the great Irish author in the film. To whom does Samuel Beckett owe his recognition — this is the main question facing the hero.
A spectacular surreal frame, presumably, was required so that even a viewer far from Beckett could cinematically clearly demonstrate who exactly they would have to deal with for the next two hours. But it hardly helps to penetrate the letter and spirit of Beckett's writing. Yes, visually the film is somewhat reminiscent of the lapidary style of the author, but still, looking at the neurotic, pitiful, bespectacled man, so similar to all cinema writers, talking with his fictional self, you will rather not remember the great “Watt” or “Molloy” , but about the series “Patients,” where for four seasons in a row another hero of Gabriel Byrne dealt with the psychological problems of his fictional patients.
In “Genius,” the viewer will experience several—the film is divided into chapters—sessions of dubious, galloping psychotherapy for a genius who died 35 years ago. First, of course, are childhood traumas: Mom sternly scolds Sam under a reproduction of Millet’s pious masterpiece “Angelus,” and Dad dies treacherously, showing how terribly a windless kite strives for the ground. Next comes an equally traumatic formation.”
More details about the film can be found in the “Kommersant-Weekend” material “Unhappy Days.”
I am captain
- Director: Matteo Garrone
- Cast: Seydou Sarr, Mustafa Fall, Isaka Sawadogo, Isham Yacoubi, Dudu Sagna, Ndeye Kadi Si
- Genre: drama/Italy, Belgium, France/121 min.
- In theaters: from March 28
Film critic Andrey Plakhov:“Sixteen-year-old Senegalese Seydou (Seydou Starr) did not have such a bad life in Dakar: he loved hanging around his hometown, and in the evenings singing and dancing with his still young mother to the incendiary tom-tom. But one fine day, together with his cousin Moussa (Mustafa Fall), the guy rushes to Italy — through the scorching Sahara desert, tortured Libyan prisons and the raging elements of the Mediterranean Sea.
The cousins, having watched enough on YouTube about the life of pop stars, decided: why are we worse? We will bask in luxury, help our relatives, and white Europeans will pray for us. The film makes it clear that African youth often flee to Europe not because of wars and poverty, but because they are seduced by available sources of information. This is, so to speak, a sociological aspect, but Garrone does not dwell on it for long. Rather, the film mostly resembles classic stories with the flavor of youthful romance about teenagers running away from home, adjusted for the era of the Internet and mobile phones.
However, the further you go, the more obvious the frivolous adventure turns from a semi-fairy-tale odyssey into a fateful test. The peak becomes the climactic episode, in which the young hero, who does not even know how to swim, must guide a rusty seaworthy vessel across the sea, filled to capacity with unfortunate migrants — the sick, the elderly and women on their way to death.»
More about film — in the Kommersant material “Sand, water and copper pipes.”
Maternal Instinct
- Director : Benoit Delhomme
- Cast: Anne Hathaway, Jessica Chastain, Josh Charles, Caroline Lagerfelt, Anders Danielsen Lee, Lauren Wafe
- Genre: thriller, drama/USA/94 min. li>
- Slogan: “Don’t trust anything but your instincts”
- At the box office: from March 28
Review of Kommersant-Weekend:“They were inseparable, as were their schoolchildren sons: former journalist Alice (Jessica Chastain) and former nurse Selina (Anne Hathaway), who after their marriage, as was expected in 1950s America, abandoned their jobs and devoted themselves to caring for the houses that stood side by side. about the side. One day, while digging in the garden, Alice saw her friend’s son from the balcony reaching out to hang a birdhouse on a tree. She ran, began shouting: “Get off!”, burst into the house, which Selina was selflessly vacuuming at that moment, and therefore did not hear anything, jumped out onto the balcony, and then Selina, who followed her, saw only her friend on the balcony, and under the balcony — the corpse of her boy. Selina threw Alice's favorite stuffed rabbit into the baby's coffin, so that the boy, bending down to say goodbye to his friend, could see it. And when the boy Alice’s birthday came, during the holiday, his grandmother died under extremely suspicious circumstances. Further, there are more corpses.
“Maternal Instinct,” as the credits insist, is both an adaptation of the 2012 novel by Belgian Barbara Abel, and a remake of the film based on it in Belgium in 2018 and which won all the local Oscars.”
For more information about the film, see the Kommersant-Weekend material “Desperate Housewives.”
Abnormal
- Director: Ilya Malanin
- Cast: Alexander Yatsenko, Natalya Kudryashova, Elisey Svezhentsev, Illarion Marov, Xu Shiyue
- Genre: drama, comedy/Russia/103 min.
- In theaters: from March 28< /li>
Film critic Yulia Shagelman:““Nonnormal” can be considered a symbol of progress, which over the past six years has somehow unnoticeably happened in Russian mass cinema. There is no violence in the methods of the hero Yatsenko, the ship engineer Yuri, who firmly believes in the same gymnastics and exercises as opposed to pharmacology. He sincerely loves the boy Kolya (Elisey Svezhentsev) and in his home-grown therapy follows his inclinations and desires — for example, having noticed Colin’s interest in music, it is she who makes it the key to their joint activities. Moreover, when the boy with annoyance calls himself “abnormal,” Yuri delivers a convincing monologue about how normality is greatly overrated: after all, “normal” people, like Kolya’s own father, who abandoned his family as soon as his son was diagnosed, do not fulfill their promises , deceive and betray, considering all this to be the norm. Disability doesn’t make Kolya something different, although the authors still don’t see any other happy ending for him than a miraculous cure.
However, the matter is not limited to the latter. The line from the past, in which Yuri teaches Kolya to ride a bicycle and play football, while gradually paving the way to the hearts of his mother (Natalya Kudryashova) and grandmother (Nadezhda Markina), which turns out to be the most difficult to conquer, is intertwined with the modern one, in which he grew up and The already completely healthy Nikolai (Illarion Marov), together with his stepfather, comes to Shanghai for an international piano competition. Here a new point of tension is outlined in the film: the selfless love of his adoptive father, which once served as Kolya’s support, now begins to limit and strangle him.
More details about the film can be found in the Kommersant material “Well Separated” clavier.»
The Tales of Hoffmann
- Director: Tina Barkalaya
- Cast: Ekaterina Vilkova, Evgeny Tsyganov, Maxim Stoyanov, Alexey Guskov, Ksenia Kutepova, Nargis Abdullaeva
- Genre: drama, comedy/Russia/98 min.
- In theaters: from March 28
Film critic Mikhail Trofimenkov: “The Tales of Hoffmann pretends to be both a light tale about difficult times and a vague parable.
Difficult times are the very end of the 1990s, which, judging by the small details, is dated. It’s funny that Vilkova and Tsyganov just played in Alexander Veledinsky’s film “1993,” where the same era appeared from its bloody side. And here all her signs are rather funny and harmless. The corrupt transformation of the library, where Nadya, who is in love with the dust of pages, handwritten forms and tanned bookshelves, works, into a karaoke bar. “Black cash” earned by Nadya and stored by Vitalik in the freezer in a box with expired dumplings. The Tamagotchi was finally given by Nadia to her husband and has since absorbed all the attention of this soulless domestic tyrant.
Tamagotchi, by the way, is not entirely politically correct called Aziz in honor of the son of Nadira, the reliable — in every sense of the word — servant of the Strakhovs (the impressive Nargisa Abdullaeva). And just as politically incorrect, Vitalik cheats on his wife with Nadira, justifying himself with the same fictitious illness: they say, I didn’t even notice who I was fucking with while the hell you were.
The supposed parable is that Nadya—let’s attribute this to the logic of the alleged circumstances—has incredibly beautiful, graceful, cinematic hands. Since, after library hours, she also works part-time as a cloakroom attendant in the theater, Garik pays attention to her hands. It appeals precisely at that moment when he is tormented by an insoluble creative problem.”
More details about the film can be found in the Kommersant material “Staff in Hand.”
A Better Life< /h2>
- Director: Francesca Archibugi
- Cast: Pierfrancesco Favino, Nanni Moretti, Kasia Smutniak, Berenice Bejo, Laura Morante
- Genre: drama/Italy, France/126 min.
- In theaters: from March 21
Film critic Yulia Shagelman:“In the original film, as well as the novel on which it is based, is called “Hummingbird” — this is the nickname Marco Carrere (Pierfrancesco Favino) was given in childhood by his mother (Laura Morante), since he was born the smallest of her three children and even at fourteen he looked by ten. Another, less obvious metaphor is shouted in the face of the now adult Marco by his wife Marina (Kasya Smutnyak) in the heat of a quarrel: a hummingbird in flight flaps its wings so quickly that it freezes in place — so does our hero, in the opinion of him upset and, as we know By that moment, not having a completely mentally healthy wife, he forever froze at one point, allowing the lives of his own and those close to him to rush past without affecting him in any way.
Spectators also find themselves in the same position of passive observers, before whose eyes Marco’s story unfolds over the course of two short hours, in which there will be meetings and partings, losses and gains, births and deaths, amazing coincidences and inexplicable accidents, marvelous Italian landscapes, panoramas with balconies of luxury Florentine apartments and views from the windows of Parisian hotels. There will not be a single argument in favor of the fact that this particular story should be of interest to us.
In order to disguise this unfortunate fact, Francesca Archibugi and the two co-authors who helped her adapt the novel for the screen abandon the linear narrative and constantly jumping from one decade to another — from the early 1980s to the present day. The trigger that sends you to the past or future can be a phone call, and when opening the door from the room to the kitchen, the characters suddenly find themselves in their own youth. But all these time travels invariably lead to the same family villa on the Tyrrhenian Sea, where young Marco (Francesco Centorame, strikingly similar to the young version of Favino) once fell in love with the neighbors’ daughter Louise (Elisa Fossati in her youth, Berenice Bejo in adulthood).»
For more information about the film, see the Kommersant material “Villa and Forks.”
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