Filmski kotiček, 5. februar 2017 ― aka The Chosen Ones Slo naslov:  - Angleški naslov: The Chosen Ones Država: Mehika, Francija Jezik: Španščina Leto: 2015 Dolžina: 105',  Imdb Žanri: Drama Slo recenzija: - Režija: David Pablos Scenarij: David Pablos Igrajo: Oscar Torres, Nancy Talamantes, Leidi Gutierrez, Jose Santillan Cabuto, Edward Coward, Alicia Quinonez [ENG] Sofia, 14 years old, is in love with Ulises. Because of him, in spite of him, she is forced into a prostitution ring in Mexico. To set her free, Ulises will have to find another girl to replace her… **************** Combining immaculate formal composure with intrepid thematic sangfroid in a comparable manner to fellow new-school Mexican filmmakers Amat Escalante and Michel Franco, David Pablos makes a purposeful, largely successful play for attention with his sophomore feature, “The Chosen Ones.” High on blunt impact and low on even qualified hope, this story of teenage girls kidnapped and forced into prostitution coolly identifies a range of social and sexual inequalities in contemporary Mexico, and proceeds with indictment via vivid exposition rather than verbal rhetoric. The resulting film, while a little one-note in its dramatic development, is as hard to shake as it is to watch; distribution potential may be limited following its Un Certain Regard debut, but festival programmers will continue to give “The Chosen Ones” their nod of approval. (Guy Lodge, Variety) Ocena

Konteksti (Tomaž Bešter), 4. februar 2017 ― Morfej je eden tisočerih sinov boga spanca, najbolj spreten od vseh, ki ima moč posnemanja katerega koli človeka, njega podobe in glasu. Morfej oblikuje sanje, je bog sanj. Mnogo kasneje je po njem ime dobil morfij. Zdravilo, ki lajša hude bolečine. Še kasneje pa je poljski pisatelj Szczepan Twardoch napisal briljantni roman z natanko takšnim naslovom. Morfij. In v njem je junak, ki ima več opraviti z morfijem kot pa z Morfejem. Ali vendarle ne. Konstanty Willeman je rekreativni (v vsej neprimernosti te oznake) uporabnik morfija; po njem hlepi in ga potrebuje, medtem ko ni odposlanec, ki bi skozi sanje ljudem sporočal slabe in dobre novice. Ali pač? Morfij v knjigi ne nastopa tako pogosto, kot bi pričakoval, pa tudi Konstanty od njega ni odvisen, pač pa je zaradi svojih staršev, vzgoje in zgodovinske situacije zmožen pretvarjanja, prevzemanja različnih oblik, s katerimi na svoj način služi zgodovini in lastnemu učasovanju. Twardoch je napisal knjigo, ki vzbuja mnoga premišljevanja. To, kako se zgodovinskost nekega imena in tega, kar ime označuje, razvija od starih Grkov pa do sodobne reprezentacije razdvojenega junaka, ki bi se zlahka imenoval tudi morfinist, je bržkone bolj ali manj le odtis v mojem spominu. A vseeno, roman Morfij je čudovit komplement različnih silnic posameznika, ki se je znašel na napačnem koncu časa in prostora, pod tem pa skriva njegov vsakdanji boj za prostor umeščenosti v ta svet. vir slike: emka.si Zgodba romana prikazuje okoli štirinajst dni v življenju Konstantyja Wilemana, oficirja poljske vojske, ki živi z ženo Helo in sinom v Varšavi leta 1939. Nekaj tednov po nacistični okupaciji Poljske. Konstanty ni prijeten človek, vsaj do drugih se ne kaže tako. Ni preveč prijazen, stvari počne precej impulzivno, sicer pa zaradi alkohola in drog uživa v težavah nedorečene samolastnosti, ki mu jo omogoča. Zaradi očeta briljantno govori nemško in se zaradi njega nasploh lahko počuti tudi kot Nemec. A je na Poljskem in vedno je bil. Za Poljsko se

Filmski kotiček, 3. februar 2017 ― Slo naslov: - Država: ZDA Jezik: Angleščina Leto: 2016 Dolžina: 96',  Imdb Žanri: Animacija, Dokumentarni, Zgodovinski Slo recenzija: - Režija: Keith Maitland Igrajo: Neal Spelce, Claire Wilson James, Tom Eckman, Aleck Hernandez Jr., Houston McCoy, Brenda Bell, Allen Crum [ENG] On August 1st, 1966, a sniper rode the elevator to the top floor of the University of Texas Tower and opened fire, holding the campus hostage for 96 minutes. When the gunshots were finally silenced, the toll included 16 dead, three dozen wounded, and a shaken nation left trying to understand. Combining archival footage with rotoscopic animation in a dynamic, never-before-seen way, TOWER reveals the action-packed untold stories of the witnesses, heroes and survivors of America’s first mass school shooting, when the worst in one man brought out the best in so many others. (Official Site] ************* Though its final act lacks the sharp focus of the moments leading up to it, Tower is a fascinating blend of suspense and journalistic inquiry. (Eric Kohn, Indiewire) Ocena

Filmski kotiček, 2. februar 2017 ― Slo naslov: -Država: ZDAJezik: AngleščinaLeto: 2016Dolžina: 96',  ImdbŽanri: Drama Slo recenzija: - Režija: Andrew Neel Scenarij: David Gordon Green, Andrew Neel, Mike RobertsIgrajo: Ben Schnetzer, Nick Jonas, Gus Halper, Danny Flaherty, Virginia Gardner, Jake Picking, Brock Yurich, Will Pullen, Austin Lyon, Eric Staves, James Franco [ENG] Reeling from a terrifying assault over the summer, 19-year-old Brad Land (Ben Schnetzer) starts college determined to get his life back to normal. His brother, Brett (Nick Jonas), is already established on campus and with a fraternity that allures Brad with its promise of protection, popularity, and life-long friendships. Brad is desperate to belong but as he sets out to join the fraternity his brother exhibits reservations, a sentiment that threatens to divide them. As the pledging ritual moves into hell week, a rite that promises to usher these unproven boys into manhood, the stakes violently increase with a series of torturous and humiliating events. What occurs in the name of 'brotherhood' tests both boys and their relationship in brutal ways. ************* Based on a true story, Andrew Neel’s powerful drama Goat opens on a striking image: a slow-motion medium shot of a group of bare-chested young men, bobbing up and down, mouths wide open in mid barbaric scream. Though surreal and lacking context, the disturbing shot is a brilliant encapsulation of Goat’s harrowing exploration of masculinity, both its extremes and the fragility that lies beneath it. [Anthony Kaufman, Screen Daily] Ocena