IviDvo

When was the last time you took a good look at your hands and thought about how essential they are to you? When was the last time you felt grateful for them? Whether you want to use a lighter, ring the doorbell, pat someone on the cheek, unlock your door, wipe your tears... you need hands. After this film, you won't notice anything else for a few days. And that's why I Lost My Body is one of the few understated films I'm grateful for. It is not predictable, it is unconventionally absorbing. It has two intertwined story lines: one is cute, tender and touching, the other is raw and even horrific. They are accompanied by Dan Levy's fantastically haunting and enchanting music, and together, it all makes one big unforgettable must see piece of work.

It's perhaps a bit of a shame that the film takes on more criminal cases to crack than it can handle in its running time. We have a missing girl, an attempted insurance fraud, a girl raped on the subway, a fire and the murder of an elderly woman. Less is sometimes more, as we know, which is why this film would have benefited from dropping one line and developing the others more deeply. Once the second half gets into the interrogation of the two suspects and the reconstruction of the crime in question, the film picks up momentum and becomes very suspenseful. This is mainly due to the performances of Léa Seydoux and Sara Forestier, thanks to whom the viewer has no idea whose side the truth is on, something crucial for the crime genre. Roschdy Zem, on the other hand, as a well-mannered and even-tempered chief, brings light and insight to a dark, corrupt city and twisted cases, and his calming presence makes you believe that everything will soon be all right.

Salvator Mallo, a film director who still remains creative but whose failing health and therefore his psyche have not allowed him to sit in the director's chair again, returns to his childhood memories and to his late mother. Even though he is in a lot of physical pain and has said goodbye to many people in his life, he suffers more from this loss than he is willing to admit. Whether in his memories, in his work, or in real life, Salvator returns to the people who meant something to him. It is precisely these scenes that are the most intimate and the most moving, and give the film an unusual subtlety. Also worth highlighting are the sets, the play with colours and the way Almodóvar incorporates them into every shot. From the water drawing effect in the opening credits, to the colourful and mottled clothing, to the various mosaics (a blue pool mosaic similar to a kitchen stove). Overall, it is a visual and emotional treat for the soul with a rather surprising ending.

Little Joe is a laboratory engineered flower that, with a little loving and care, is meant to ensure your happiness. It is a very original and ambitious premise that unfortunately squandered its potential. The overall effect of the film is bland, dull, and yet the plot invites so much escalation, chilliness and paranoia. This is probably what the "musical" score of the film is trying to do, which is at times almost horrific, but it’s more like a random mix of chimes, flutes and whistling that feels more tinnitus than music. The acting is a bit cold overall, which would have been useful in the context of the story in the second half of the film, but the visuals succeed where the script and the soundtrack fail. The film thrives on pastel colours, the light green, rust and white creates a perfect contrast to the deep red of the dangerous flower. Unfortunately, nice visuals are not enough for a full-fledged experience.

Deerskin is one of the most unpredictable and wrenching comedies of the year. At first, it looks very understated and chooses a slower pace. The decoration is thoughtfully set in lighter tones of brown, grey and beige, which can look a little bland, but it works perfectly with Dujardin's outfit; we must not forget it, because his jacket is the second main "character" of the film. Their common dream is to be unique, and that's when this supple comedy turns into a chilling and absurdly frantic ride. Gradually a hat, shoes, trousers and gloves join the jacket, and suddenly Dujardin's outfit is downright murderous. Not even Carrie Bradshaw has this much style. Finally, I must not forget to say that I promise never to wear a jacket again in my life...

The moment we abandon the attempt of genre pigeonholing, which is not even possible, because Parasite has something of everything, this is mainly a proof that it is still possible to make a completely novel, unpredictable, funny, touching, but also at times chilling and shocking film. In a nutshell: an emotional roller coaster. The story gradually builds up and serves up such twists and turns that you will be left with your wits about them, and you won't even dare to guess what kind of finale it will lead you to – for me it is bittersweet.

Portrait of a Lady on Fire is a mostly visually beautiful and emotionally tender portrait of two young women who, despite their different life paths and destinies, find their way to each other, at least for a little while. Talented painter Marianne has the difficult task of secretly and unobtrusively paint a wedding portrait of Héloise, who is about to marry in Milan against her will. Through an elaborate cinematography, the viewer becomes an observer, just like a painter who needs to perceive the smallest details. Thus, the long views and close-ups are not merely a cinematically visual means of telling the story, but meaningfully underscore and complete what Marianne is here to do – paint a portrait. Overall, the film is very intimate and tender, with no major emotional storms, which can feel a bit flat, but it fits the two main characters.

What is this? A big surprise that delighted me immensely. Great humour, original, inventive and entertaining dialogues, but the main thing I have to highlight are the performances of the two male leads, because I had a great time with Asa Butterfield and Ncuti Gatwa. Their characters are fun, and their expressions, their grimaces... just perfection. Asa is talented, but we've known that for a while, but Ncuti aka Eric is the acting discovery of the year for me. It's true that I enjoyed the comedy episodes a bit more, because there's a momentum and punch to it. Once it gets more dramatic, it certainly doesn't get boring, but it does detract a bit from the overall mood of the series. Actually, it has only one flaw, not enough episodes, I would have taken more if it kept the quality.

In order to return to writing, which she gave up ten years ago for a career as a psychologist, Sibyl radically reduces her number of patients. She retains, among others, a young and somewhat invasive aspiring actress, Margot, who requires help with a very fundamental life decision. Her inability to act independently leads Sibyl to the film set, where she plays the role of Margot's psychological support and at the same time a communicator in a love triangle between Margot, her acting colleague and the director of the film. But Sibyl herself has to deal with her own demons from the past, which gradually come to the surface through flashbacks. The film is set on the beautiful island of Stromboli, whose smoking volcano is a symbolic harbinger of a possible eruption. The performances of both Virginie Efira and Adèle Exarchopoulos are solid, convincing and moving, but arguably the best tragic-comic outburst of emotion worth seeing comes from Sandra Hüller as the director. Her momentary loss of nerve is one of the few proper comedy scenes a film that is rather dark in its entirety.

A Start Is Born, although by that it means the character of Ally, for me personally two stars were born. Lady Gaga as an actress and Bradley Cooper as a singer. Specially him, who would have thought this guy can sing so bloody well? In my eyes, the surprise of the year. Although the film didn't surprise me much with the script, it completely won me over with the execution. I never thought Lady Gaga and Bradley would be such a great match, the chemistry between them is palpable. Lady Gaga as Ally is amazingly natural and so approachable that you will relate to her right away, and the same goes for the character of Jack. They are just both so endearing that you take an instant liking to them. I have to praise the music too, because it played exactly to my tune, a bit of rock, a bit of folk, and I was tapping my foot contentedly the whole time. Bradley's directorial debut couldn't have turned out better, so I hope he continues to complement his acting career with directing. A few days after the screening I still can't get the film out of my head and I had to wipe a lot of tears in the cinema, something no film has managed to do this year...