ronraven

Admittedly, the viewer will have to persevere a bit with "The Colors of Time". As is often the case with French films, it starts off very slowly, and at times even sluggishly. You first get to know the characters and experience their everyday lives. It's a bit slow in the present, but much more exciting in the parallel narrative set in the 19th century.

You experience a lot about everyday life in that bygone era. It's beautiful in the countryside and very fascinating in Paris. Tourist attractions like the Eiffel Tower and the first electrified road are minor details, and everyday life is what's fascinating. What's it like living in this world as an ordinary person seeing their mother for the first time? Especially in an unexpected environment? What's it like to suddenly meet famous artists like Sarah Bernhardt or Claude Monet in a bar or garden?

As tangible as these personalities are in the film, so too is the Impressionism emerging in Paris at that moment. One witnesses the emergence of a significant era from everyday moments like a sunrise or a view of a garden. This is simultaneously poignant and normal. Thus, one can easily connect great art with one's own everyday life and emerge from this film inspired.

This is also ensured by a thrilling key scene that actively and directly links the present with the present. From this moment on, the art of the past is also in the present and changes the lives of the characters in our time. They are transformed and radiate like Impressionist paintings. "The Colors of Time" is a film that offers us a new and very vivid perspective on Impressionism. Highly recommended and definitely worth seeing in the original French.

This movie, in terms of the breadth of its knowledge, is long overdue. It's difficult to extract the full scope and importance of Gottfried Leibniz from books. But experiencing him firsthand, so to speak, in "LEIBNIZ - Chronicle of a Lost Image", is impressive. You understand his philosophy, his work, and, not least, his sincerity in doing good for humanity.

The movie features many points, and his impact is clearly evident. For example, in the invention of a flexible hose for the fire department of the time. He personally witnessed an inn burn down because the fire department only had rigid wooden pipes at its disposal. However, this invention was not enough to completely solve the problem. He also invented the principle of the fire insurance fund, an insurance policy that even then allowed citizens to protect themselves against the consequences of fire. This example demonstrates his humane concern as the driving force behind his work.

The movie succeeds in drawing the viewer into Leibniz's essence simply through the creation of a portrait. A mind like Leibniz can't simply pose as a model for a portrait. He has to think and express his thoughts immediately. He engages with the painter, and so his first attempt with the then-famous court painter Delalandre fails miserably. Delalandre understands a portrait merely as an image, not as a representation of the essence.

The second painter, Aaltje van de Meer, is completely different. She attempts to understand Leibniz and connect his mind with herself. These are long, wonderful, and fascinating conversations. It's like a lived philosophical discourse with strong connections to real life. The movie can therefore be understood more as a theater play than as a cinematic work. This was also the intention of the casting process, which selected actors with extensive stage experience.

Edgar Selge is the ideal cast for Leibniz, and you not only believe him in the role, but also feel how thoroughly he has captured the essence of the thinker. Edgar Selge's naturalness and gruff warmth are the central points of the performance. He is joined by well-known theater greats such as Lars Eidinger and Barbara Sukowa. Both have a well-founded reputation, which resonates in the film. German acting can be great-especially in small-scale productions.

The cast of other actors is also very convincing, rounding out the deliberately small ensemble with Antonia Bill, Michael Kranz, and Aenne Schwarz. Their reactions are direct and natural. The characters' insights are authentic. Thus, as a viewer of the film, one takes with them the truth that a painted picture is not just a captured present. It is also a summary of the entire past up to the completion of the picture, and the discourse surrounding the picture has a lasting impact.

The movie "LEIBNIZ - Chronicle of a Lost Image" thus has a lasting impact. Both on the audience, who leaves the film with many new ideas, and on the world, which is forever reminded of Leibniz's greatness through this movie. An important theatrical work as a movie.

Okay, "Death of a Unicorn" is certainly a trash film, but it's a very high-quality one! The cast lineup demonstrates this: Jenna Ortega (Wednesday), Paul Rudd (Ant Man), and, last but not least, the brilliant Richard E. Grant are all top-notch. Besides, it's long overdue to do away with the rosy image of unicorns and transform them into serious, mystical creatures. The unicorn was a good start, but "Death of a Unicorn" goes even further.

552 / 5.000 Elliot Kintner (Paul Rudd) and his teenage daughter Ridley (Jenna Ortega) are on their way to the remote estate of Elliot's eccentric, extremely wealthy boss, Odell Leopold (Richard E. Grant), when they accidentally run over and kill a unicorn. It's a pretty shocking start, but it's only the beginning of a ludicrous, surprising, intense, and highly entertaining story. Despite the extremely offbeat storyline, you'll be glued to your seat and can hardly tear your eyes away, desperate to know what happens next.

As an art history student, Ridley researches the history of unicorns and quickly realizes that the popular images of gentle creatures hardly correspond to the truth. These mythical creatures are ancient, wild, and dangerous - and they demand revenge to reclaim what was taken from them... And they do so with all their might.

With bitter humor and overwhelming power, writer-director Alex Scharfman delivers his genre-bending feature film debut, DEATH OF A UNICORN, a fast-paced film about hubris, generational conflict, and the destructive potential of human greed. Look forward to this masterpiece, which finally puts the trash genre and unicorns on the right level.