Raihaanun delivers a stark and raw yet sterling performance to become the soul of this powerful story about sexual trauma.
Director Ravi Bharwani and writer, Rayya Makarim, bring about the face of sexual trauma in the stark yet riveting 27 Steps of May. Released on the same day as Indonesia’s Women’s March, the story trots out an unapologetic study of a tragedy against humanity, especially women, and its aftermath. The message it carries is as timely and timeless as the issue itself; it’s powerful, important and urgent.
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Also titled as Memories of My Body, Garin’s Kucumbu Tubuh Indahku presents a melancholy tale of mysticism, philosophy and sensualism about human body through a gender variant dancer.
Long-time, eclectic Indonesian director, Garin Nugroho, returns with a meditative picture, Kucumbu Tubuh Indahku (also known as Memories of My Body), about gender and the mysticism of human body. His new film, inspired by the harsh life of Japan-based Indonesian dancer, Rianto, and many other traditional dancers living in the rural area of Java, is not only visually, contextually, subtextually and substantially rich, but it’s also thought-provoking.
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Review: This is Lala’s first love; yet, Yudhis wants it to be their forever. That’s how Posesif abridges its powerful content. It’s a high-school meet-cute that blossoms, escalates, grows as quickly as it spirals out of control. It’s a portrayal of how love is addressed as a tool to possess and how immaturity is outdoing the typical puppy love tropes and ending up in a chain of abusive relationship.
Even in his most mainstream tenure, Edwin (Blind Pigs Who Wants to Fly, Postcards from Zoo) can still channel his arthouse virtuoso and turn a sub-genre considered as ‘cheesy’ to a poignant, insightful observation of toxic teenage relationship. Under his direction upon Gina S. Noer’s script, coming-of-age relationship is depicted as an acrimonious force, which haunts both parties, in the name of love. Continue reading “Posesif (2017) – Review: A juggernaut of teenage romance”
Review: In Wind River, Taylor Sheridan again demonstrates a prowess he once showcased on writing tenure for Sicario and Hell or High Water. His painstaking flair for slick and immaculate script—with penchant to coherence and symmetrical storyline—is utterly exquisite. With Sheridan running for both writing and directing gigs, we finally get to see his full-creative-control mode; and, lucky you, it’s taut and clever as you might imagine.
The title refers to a snow-covered Native American reservation in Wyoming, which becomes the setting of this film. It’s the place where a hunter, Cory Lambert (Jeremy Renner), resides. As he tracks a wild mountain lion who preys on local cattles, the all-white-camouflaged hunter accidentally finds a local girl’s body… dead and stark. For the case, FBI sends rookie Jane Banner (Elizabeth Olsen), who immediately team up with Lambert to investigate it.
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Review: Love is a many-splendored thing again in The Big Sick, a highly relatable rom-com about multi-cultural relationship inspired by real-life story of its writers—Pakistani-American comedian, Kumail Nanjiani (Silicon Valley), and his wife, Emily V. Gordon.
This Judd Apatow-produced delight package grounds closely to reality and is utterly apprehensible in presenting a witty, sweet story. Some of the aspects are more digestible (also debatable) for people of Eastern culture than those of Western; but it’s never alienating. After all, this is a warm and honest cross-culture romance that attempts to bridge the differences. In short, it’s the kind of old loving-you-loving-your-family love story, which works in the heart of ‘modernity.’
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Review: In Bad Genius, director Nattawut Poonpiriya (who previously helmed Countdown, a peculiar New York-set home invasion thriller) crafts an extraordinary story about cheaters in standardized test presented like a heist thriller. Additionally, it either criticizes or mocks, or even actually makes fun of academic exams in a most exhilarating way.
With clever straightforward script and cinematic aptitude to treat class-room multiple choice tests like Ocean’s Eleven, this film successfully deliver a scandalous guilty pleasure the size of The Talented Mr. Ripley. The result is a super entertaining heist-formulated class room thriller, which scores high and graduate a cumlaude.
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Review: Let’s start with a little excerpt of what has gone so far in Planet of the Apes reboot universe. As you might have known (in fact, you’ll learn/re-learn about this in 3 opening minutes), simian flu has wiped most of the humanity, leaving few of them stranded on the planet that used to be theirs. Unbeknownst to them, the planet isn’t bound to them anymore. After the fall of men, the ‘Rise’ of apes is the next phase and the new ‘Dawn’ of civilization embarks.
War for the Planet of the Apes begins several years after the event in Dawn, where human wages war against apes. Human military led by The Colonel (Woody Harrelson) conducts man-hunt on ape leader, Caesar (Andy Serkis). The plan gone awry, but humanity has succeeded in killing Caesar’s family and the dream of reconciliation. This event scars the peaceful ape to the extent that he’s driven into waging his war against men, hence the title. CONTINUE READING IN ‘ENGLISH’