ZeddaZogenau
Joined Jul 2020
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A typical PolAr crime film from France, but one that surprises with German-language tracks by Rebeka WARRIOR and the band KOMPROMAT in the soundtrack!
The grandson of Jean-Paul BELMONDO (1933 - 2021), Victor BELMONDO (born 1993), plays a young police officer from the French BRI who is transferred to the BAC as a punishment because of his penchant for illegal competitions. Six months later, some of his former colleagues are killed. Apparently the former friends were involved in illegal activities. The investigation reveals further surprises.
Nothing new from the PolAr genre that is so popular in France and beyond! But with French director Olivier MARCHAL, who is primarily responsible for the genre classic 36 QUAI DES ORFEVRES from 2004, a master of his craft delivers a passable NETFLIX film. For fans of the French crime film, which is also somehow the successor to the Italian Poliziotteschi from the 1970s, it is definitely worth a viewing.
The grandson of Jean-Paul BELMONDO (1933 - 2021), Victor BELMONDO (born 1993), plays a young police officer from the French BRI who is transferred to the BAC as a punishment because of his penchant for illegal competitions. Six months later, some of his former colleagues are killed. Apparently the former friends were involved in illegal activities. The investigation reveals further surprises.
Nothing new from the PolAr genre that is so popular in France and beyond! But with French director Olivier MARCHAL, who is primarily responsible for the genre classic 36 QUAI DES ORFEVRES from 2004, a master of his craft delivers a passable NETFLIX film. For fans of the French crime film, which is also somehow the successor to the Italian Poliziotteschi from the 1970s, it is definitely worth a viewing.
A Bollywood thriller that follows different approaches - that sounded very promising! You don't get to see Indian films in German cinemas (outside of the big cities) every week. But first things first!
At the beginning of DEVA you see extremely dark corners of Mumbai where crime can clearly flourish. Such a realistic and socially critical approach is extremely unusual for Bollywood thrillers. But it is standard for films of this kind that we see Dev Ambre (Shahid KAPOOR), a kind of super-cop who has worked his way up from the lower layers of Indian society. But such a rabid cop from the common people sometimes goes too far. Even friends from a good family like Rohan (Pavail GULATI) and a benevolent superior like Farhan (Pravesh RANA) don't always help. During the investigation into a notorious criminal who is making the whole of Mumbai unsafe, it turns out that there must be a mole within the police who is passing on explosive information to the criminals. Corruption at the highest level! At some point, the super criminal falls into the net of the police officers who are investigating at full speed. Now everything should really be cleared up, but the plot of the film is far from over.
Turbulent action scenes, a narrative style nested in flashbacks and a very skilful misleading of the audience! A lot is said that can only be put together afterwards. The star of the film is definitely Shahid KAPOOR, whose cheeky performance is reminiscent of Tomas MILIAN from the Italian EuroCrime classics of the 1970s. In terms of wiry sex appeal, KAPOOR can also hold his own against a EuroCrime veteran like Luc MERENDA. This seems to have been quite a daring move for Hindi cinema. Rosshan ANDRREWS' action blockbuster did not do particularly well at the box office.
If you like crime films based on classic Italian models that have been shot using absolutely contemporary means, you'll be well served here. Indian films are still unusual for western viewing habits, but that's exactly why they're so interesting. This is pure genre cinema that goes all out!
After just under three hours, a resolution is presented that you could have expected from the Black Series films of American cinema in the 1940s. Indian cinema knows how to transfer the models of film history to the Mumbai of the imagined present. It's not boring, but you shouldn't expect any great insights either. It remains exciting to see how Shahid KAPOOR's film career will develop. Will cheek win? Or will he be knocked out by box office poison?
At the beginning of DEVA you see extremely dark corners of Mumbai where crime can clearly flourish. Such a realistic and socially critical approach is extremely unusual for Bollywood thrillers. But it is standard for films of this kind that we see Dev Ambre (Shahid KAPOOR), a kind of super-cop who has worked his way up from the lower layers of Indian society. But such a rabid cop from the common people sometimes goes too far. Even friends from a good family like Rohan (Pavail GULATI) and a benevolent superior like Farhan (Pravesh RANA) don't always help. During the investigation into a notorious criminal who is making the whole of Mumbai unsafe, it turns out that there must be a mole within the police who is passing on explosive information to the criminals. Corruption at the highest level! At some point, the super criminal falls into the net of the police officers who are investigating at full speed. Now everything should really be cleared up, but the plot of the film is far from over.
Turbulent action scenes, a narrative style nested in flashbacks and a very skilful misleading of the audience! A lot is said that can only be put together afterwards. The star of the film is definitely Shahid KAPOOR, whose cheeky performance is reminiscent of Tomas MILIAN from the Italian EuroCrime classics of the 1970s. In terms of wiry sex appeal, KAPOOR can also hold his own against a EuroCrime veteran like Luc MERENDA. This seems to have been quite a daring move for Hindi cinema. Rosshan ANDRREWS' action blockbuster did not do particularly well at the box office.
If you like crime films based on classic Italian models that have been shot using absolutely contemporary means, you'll be well served here. Indian films are still unusual for western viewing habits, but that's exactly why they're so interesting. This is pure genre cinema that goes all out!
After just under three hours, a resolution is presented that you could have expected from the Black Series films of American cinema in the 1940s. Indian cinema knows how to transfer the models of film history to the Mumbai of the imagined present. It's not boring, but you shouldn't expect any great insights either. It remains exciting to see how Shahid KAPOOR's film career will develop. Will cheek win? Or will he be knocked out by box office poison?
It was quite a surprise that the Kurdish-German director Ayse POLAT was awarded the GERMAN FILM AWARD for best director and best screenplay in 2024. But if you have seen her film IM TOTEN WINKEL, you know that these honors are not unjustified.
Everything takes place in the city of Kars in northeastern Turkey. The Turkish Nobel Prize winner for literature Orhan PAMUK has already set his novel SCHNEE there, at an altitude of 1768 meters above sea level. In Ayse POLAT's film, the somewhat naive director Simone (Katja BÜRKLE) from Germany has traveled to Kars with her cameraman Christian (Max HEMMERSDORFER) to film the old Kurdish woman Hatice (Tudan ÜRPER) during a very personal ritual. Simone is interested in imaginary monuments and recognizes this when Hatice prepares a certain soup every year in memory of her son who disappeared without a trace and distributes it to all the neighbors in her village. The young Kurdish woman Leyla (Aybi ERA) acts as a translator and also has her little English student Melek (Cagla YURGA) with her. Melek sees and feels more than the adults would give her credit for. What Simone does not suspect is that she and her small film crew are under constant observation. One evening there is a loud knock on Simone's hotel door...
A very mysterious story is told here from three different perspectives. Little by little it becomes clear how everything is connected and what role Melek's Turkish father Zafer (Ahmet VARLI) plays in it. The conflicts between Turks and Kurds have by no means come to a standstill in the past quarter century; in fact, they still have an impact. All of this is told in the form of an exciting political thriller. But be careful! A genuine ghost story, in the person of little Melek, sneaks into the bitter plot quite imperceptibly. The past is never dead, it is not even past. And: the sleep of reason produces monsters.
Admittedly, this is a rather complicated film, but it is very easy to understand through the chosen visual language. A bitter twist, however, is that the German woman, who is also the director, is unable to interpret the images correctly. The language spoken is German, English, Kurdish and Turkish. This film is well worth seeing, you should definitely get involved in this monstrous event!
Everything takes place in the city of Kars in northeastern Turkey. The Turkish Nobel Prize winner for literature Orhan PAMUK has already set his novel SCHNEE there, at an altitude of 1768 meters above sea level. In Ayse POLAT's film, the somewhat naive director Simone (Katja BÜRKLE) from Germany has traveled to Kars with her cameraman Christian (Max HEMMERSDORFER) to film the old Kurdish woman Hatice (Tudan ÜRPER) during a very personal ritual. Simone is interested in imaginary monuments and recognizes this when Hatice prepares a certain soup every year in memory of her son who disappeared without a trace and distributes it to all the neighbors in her village. The young Kurdish woman Leyla (Aybi ERA) acts as a translator and also has her little English student Melek (Cagla YURGA) with her. Melek sees and feels more than the adults would give her credit for. What Simone does not suspect is that she and her small film crew are under constant observation. One evening there is a loud knock on Simone's hotel door...
A very mysterious story is told here from three different perspectives. Little by little it becomes clear how everything is connected and what role Melek's Turkish father Zafer (Ahmet VARLI) plays in it. The conflicts between Turks and Kurds have by no means come to a standstill in the past quarter century; in fact, they still have an impact. All of this is told in the form of an exciting political thriller. But be careful! A genuine ghost story, in the person of little Melek, sneaks into the bitter plot quite imperceptibly. The past is never dead, it is not even past. And: the sleep of reason produces monsters.
Admittedly, this is a rather complicated film, but it is very easy to understand through the chosen visual language. A bitter twist, however, is that the German woman, who is also the director, is unable to interpret the images correctly. The language spoken is German, English, Kurdish and Turkish. This film is well worth seeing, you should definitely get involved in this monstrous event!