Is it even a city? (2024) dir. August Jorfald

The new Visit Oslo ad featuring the unimpressed Halfdan is a hit this summer. In the 1 minute, 45-second video, Halfdan dryly comments on Oslo’s attractions, unintentionally highlighting the city's charm. With lines like “Is it even a city?” and sarcastic remarks about the lack of queues at restaurants and the city's small size, the ad uses irony to showcase Oslo’s appeal. Created by Visit Oslo’s marketing director, Anne-Signe Fagereng, the ad aims to present Oslo as an underrated gem compared to Stockholm and Copenhagen. Director August Jorfald, inspired by his own travels, wanted to capture a real and authentic feel.

This ad feels like a short film with great humor and a fresh take on promoting tourism in Oslo. In the past few days, I've watched it three times, and each time, it leaves me with a warm, pleasant feeling. The character, his thoughts, and the cinematography remind me of Joachim Trier's films. The focus shifts make me feel like the character from "The Worst Person in the World" could step into the frame any moment. Honestly, I don't recall a tourism ad done like this before — it's a completely new and unique approach. I've considered visiting Oslo many times, and this ad has convinced me to definitely go. It inspires me to create more often and achieve this kind of effect with my work. After watching it, I thought to myself — I would love to make something like this.

10/10

#ad

The Dead Don't Hurt (2023) dir. Viggo Mortensen

Set in the 1860s, The Dead Don't Hurt tells the story of Vivian and her husband Holger, whose dreams of a bright future are shattered by the war. In these tough times, they struggle to keep their love alive.

This film is a calm, thoughtful piece set in a quieter version of the Wild West. While it has familiar elements, the story feels different. It focuses on the complicated relationship between Vivian and Holger and how their lives change because of their choices and the consequences. Here, people talk or stay silent more than they shoot or drink in saloons. The beauty of the landscapes, nature, and flowers is as important as the actors. The story mainly revolves around Vivian's feelings, with her husband, away at war, reminding her of his presence through letters.

Viggo Mortensen, directing here, plays with style and nonlinear storytelling but sometimes misses the deeper substance, leaving us without the emotional payoff by the end. The movie reminds me of The Road, where Mortensen also starred, but unlike The Road, which has a clear ending, this film leaves many plot lines unfinished. Still, The Dead Don't Hurt is worth watching for the chemistry between the leads and the simple yet beautiful cinematography.

In the end, the film does a lot but says little, leaving us feeling the same as the characters at the end. Like the dead, the characters don't hurt us, but they don't make a big impact either. While the film is visually stunning and emotionally rich, it may not be one you'll want to watch again.

7/10

#film

Сoncrete Jungle (2024) dir. Michael Spiccia

Another perfect example of ad shows how a woman transforms the concrete world around her while far from home filmed with a lot of passion and soul, which is quite unusual for the beast company as Amazon. It's about moving, loneliness, homesickness, and loved ones, and how she surrounds herself with familiar things to rediscover herself and feel warmth and comfort, both inside and at home. It's a beautifully crafted story with excellent cinematography set to the powerful music of Christine and the Queens. For all of us who felt himself in the same way during the migration or even immigration I highly recommend you to rewatch it a couple of times, because the ad beautifully conveys the idea that home is not merely the place where you were born and left behind, but what you create around yourself and within your heart.

10/10

#ad

Furiosa: A Mad Max Saga (2024) dir. George Miller

The plot follows young Furiosa, who is kidnapped from the fertile Green Place and taken to the leader of a biker gang, Dementus, as proof of this oasis's existence. Dementus plans to cause chaos in the Wasteland — seizing control of Gas Town and, in exchange for a trade deal with the Citadel, gives Furiosa to Immortan Joe as one of his future wives.

The prequel to Mad Max: Fury Road had all the same elements, but something went very wrong relying on huge failure in the box office and reviews. Compared to Fury Road, this film falls short in almost every way. While Fury Road was a masterclass in every aspect, for example cinematography, practical effects and storytelling, Furiosa feels like a weak imitation.

The movie has too much backstory for Furiosa, which isn’t very engaging. The story tries to explore her origins but lacks the gripping intensity of Fury Road. Surprisingly, the young girl’s story is more interesting because of the actress's charisma, something Anya Taylor-Joy doesn’t bring to this role.

Nearly 10 years later, we get a lot of bad CGI. It’s confusing why George Miller, well known for using outstanding practical effects, used so much digital work. The well-crafted style of Fury Road is replaced by digital stuff that feels more like video game cutscenes, without any soul and originality.

The film’s best parts are two short chase scenes done in Miller’s classic style and the performance of Tom Burke’s character the Praetorian Jack. These moments capture what made the first four films great but are mostly missing in this prequel.

After watching Furiosa, I wanted to rewatch Fury Road — the 10 year old film looks much better. Practical effects and tight storytelling make a huge difference. Rewatching films from the 70s and 80s would probably give me more emotion than Furiosa’s story too.

In the end, Furiosa is a missed opportunity. It could have added depth to the Mad Max saga but ends up showing the risks of using too much CGI and complicated backstorie. Despite its flaws, it’s worth watching for the brief moments that remind us why George Miller’s world is so captivating.

6/10

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Bleeding Love (2023) dir. Emma Westenberg

In "Bleeding Love" a road-movie drama directed by Emma Westenberg, a father drives his 20 year old daughter, who is struggling with addiction after a recent overdose, to an old friend’s art studio, hoping she will rediscover her passion for painting. During their journey, they encounter various people, reminisce about the past, and strive to mend their fractured relationship.

This intimate drama revisits the familiar theme of dysfunctional parents and their equally troubled children seeking redemption in each other. The film is a classic road movie, with both protagonists spending most of the screen time together, meeting random companions along the way who aid in their journey towards catharsis by the end. The film's confident and natural cinematography and the expansive American desert landscapes guide the viewer from start to finish, making the occasional rough edges and simplicity of the noscript easy to overlook. It's as if you are the passenger being taken through the story, sometimes it could be slow, boring or overwhelming, sometimes it could be a beautiful and breathtaking adventure.

When compared to films with similar themes, as “Beautiful Boy" the film lacks grandiose drama or the intense chemistry between the main characters with the same problems. It doesn’t reach the tragic heights of "Leaving Las Vegas" or the gritty realism of "To Leslie". Instead, it explores a long-standing grievance or the possibility of resolving issues between father and child — who are the real family in life, making it fascinating to watch. The behind the scenes reality adds a layer of authenticity to the story, and the film offers a sense of hope, making it worth watching. This portrayal of the conflict between a person and their addiction shows that such battles can eventually be won, and we should believe in that no matter what.

7/10

#film

NxWorries – Why Lawd? (2024)

NxWorries is an American music duo with Anderson.Paak and Knxwledge are back with a new album after eight years. It's got that smooth sound fans love, mixing old R&B with a modern twists. Why Lawd? feels like a big music party that anyone who loves NxWorries vibe can get into.

It's easy to enjoy because it’s done so well. This is a perfect summer album with awesome beats, samples, and a sound that makes you want to hit repeat and dive into many times again. Just what you need right now before summer peaks.


🎵SPOTIFY or APPLE MUSIC

#music

The Bikeriders (2023) dir. Jeff Nichols

After a chance encounter at a local bar, the strong-willed Kathy is irresistibly drawn to Benny, the newest member of the Midwestern motorcycle club, the Vandals, led by the enigmatic Johnny. As the club evolves, mirroring the changing country around it, it transforms from a haven for local outsiders into a dangerous underworld of violence. Benny finds himself torn between his loyalty to the club and his love for Kathy.

Director Jeff Nichols masterfully guides us through the creation, rise, and transformations of this now infamous American biker club during the mid-20th century. He is supported by a stunning lead trio, a colorful supporting cast, brilliant cinematography, a perfectly curated soundtrack, and the immersive atmosphere of roadside bars, beer-fueled parties, and a seemingly carefree lifestyle.

The film vividly captures the spirit of the era, particularly the pivotal late 60s when the rules of the game changed. The clash between the old and new generations, anti-war sentiments, and the need for people to organize, not feel like outcasts in their own country, and find meaning in life by following their gang without boundaries are all poignantly depicted. The peaceful beginnings and the desire to create something personal spiral out of control, turning into a gang dealing in drugs, human trafficking, and contract killings.

These emotions are reflected in every element of the film. There isn't a single filler scene or unnecessary movement. Everything works towards building the atmosphere and advancing the story. I recommend this film to anyone interested in how groups formed around common interests and good intentions can become a toxic influence on society. The lack of control triggers a chain of events that changes the group's original values, as power corrupts and spreads even more evil. And the only escape from this vicious cycle may be either fleeing or death.

8/10

#film

The Bikeriders – Soundtrack (2024)

I couldn't write that review above without providing the links on wonderfully curated soundtrack, which perfectly captures the spirit of 60s.

🎵SPOTIFY or APPLE MUSIC

#music

How to Rob a Bank (2024) dir. Stephen Robert Morse and Seth Porges

"How to Rob a Bank" tells the story of Scott Scurlock, known as The Hollywood Bandit, who robbed 19 banks in Seattle from 1992 to 1996. Featuring interviews with the robbers, law enforcement, and characters from the Pacific Northwest, it chronicles Scott's rise to becoming Hollywood, America's most successful bank robber.

This documentary tells Scott Scurlock's fascinating story. He always went against the system, starting by picking locks, then building a treehouse palace, and making meth in his college lab. Inspired by films, he decided to rob banks. He gathered friends and quickly earned the nickname Hollywood for his style and appearance. His story mirrors a modern-day Robin Hood, gaining society's approval and support.

As a child, I dreamed of becoming a bank robber, inspired by movies like "Heat," "Point Break," “Stander”, "Dog Day Afternoon," and "Inside Man." If I hadn't realized at age 8 that I wanted to be a director, who knows if I'd be writing these lines now.

The filmmakers romanticize Scott, and honestly, I don't mind. The story undeniably feels like the plot of several films combined. On some level, I understand Scott and his choices because a person who has lost their way is often in a worse position than someone who has nothing left to lose.

The documentary is confidently told from multiple perspectives and also shows some thoughts from Scotts’s diary, so we can actually delve into his mind during that period of life. The interviews are enhanced with great graphics, sketches, and high-quality reenactments. It's a solid from the beginning and keeps you engaged until the end, showing what could have happened if we had taken a different path in life, knowing that everything is real and there is no return or stop button in the end.

8/10

#film

LONGLEGS (2024) dir. Osgood Perkins

One of the most hyped horror-thriller of the year, turned out to be far from the best representative of the genre, with an obviously overrated rating. A film that can be described as lack of everything — from a noscript that falls apart as the movie progresses to a shifting concept from a creepy narrative to some sort of mystical horror, unsupported by anything, and shot with pretensions to the best in the genre with a main characters, look like frightened kittens who have no idea what’s going on, even though the story is about special task force FBI agents.

The only two things worth mentioning is the cinematography, which was ruined by an excessively lowered exposure, forcing you to squint at every shade to understand what’s happening on the screen. And another bright spot is the unrecognisably transformed Nicolas Cage, who simultaneously plays to all his typical strengths and terrifies when on screen.

If you’re a fan of creepy popcorn horror films, you definitely shouldn’t miss it, but if you were expecting a new word in the genre or at least one of the best horror films in recent years — you can watch and be disappointed. Ultimately, the film will be remembered not for its content but solely for the extensive and powerful marketing campaign by Neon Rated.

6/10

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Night Therapy (2024) dir. Gavriel Bibliowicz

"Night Therapy" is an Israeli series about Louay Mansour, a psychologist grappling with the loss of his wife, who died by suicide. While raising two children, he decides to change his practice, opting to see patients after dark. As he delves into the issues of others, Louay slowly learns to cope with his own grief.

There are times when you stumble upon a film or series by chance, knowing nothing about it beforehand, and with no expectations, you start watching it. Yet, something inside you hints that this might be something special, something that will either entertain you or leave a lasting impression. That’s exactly what happened with this series. I've always been drawn to the portrayal of therapists in cinema, and when I read the denoscription of Night Therapy, images from series like In Treatment, The Patient, or even films with similar storylines like Shrink flashed through my mind. What struck me most was the series' honesty, the depth of the topics it tackles — both in terms of the patients' issues and the struggles faced by the protagonist and his family.

This series doesn’t aim to dazzle with technical tricks, plot twists, the outstanding performances by the cast (I definitely can’t be silent about the remarkable Shira Haas, who captivates the audience in every scene she appears), the nocturnal beauty of Tel Aviv, or emotionally charged scenes designed to make you cry. Instead, it simply shows life in all its complexity, depicting how different people deal with the events in their lives — whether it’s insecurity, anger, grief, or the inability to express emotions openly for fear of appearing weak or vulnerable. Let's face it, we’ve all encountered these issues to some extent. The series captures these facets without grandiose words, all within the concise 30-minute episodes, and it does so effectively.

There are predictable plot developments and character reactions, yet this predictability didn't detract from the viewing experience for me. It felt real — just like life, where we can anticipate some things, but overall, events unfold as they do in reality. Here, a psychologist dealing with loss might lash out at his family, a religious person might be plagued by thoughts of suicide, and characters who seem straightforward at first reveal themselves to be much more complex and layered.

I can't recommend this series to everyone due to the heavy themes it explores, but I definitely recommend it to those who are tired of typical shows or procedural dramas — mindless entertainment or overly drawn-out stories that you continue watching out of habit or attachment to the characters. Night Therapy touches on numerous issues that we all face in our daily lives. Honestly, after watching it, I found myself with a lot to think about, reflecting on how I live my own life and deal with my own problems. The series left me with a stronger sense that no matter how daunting the challenges we face may seem, at certain point they can be overcome.

9/10

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The Vanishing (1988) dir. George Sluizer

Rex and Saskia, a young couple deeply in love, are on a holiday trip. They stop at a crowded service station, where Saskia suddenly vanishes.

A few posts ago, I reviewed the film LONGLEGS, a pretentious horror-thriller that generated a lot of buzz due to an impressive marketing campaign. However, in reality, it was no better than any other film relying on jump scares, shallow exposition, and eerie music to frighten the audience. Why do I bring it up now? Because the very next day after watching LONGLEGS, I sat down to watch The Vanishing, and within an hour, I found myself motionless on the couch, completely captivated by the screen. I felt a deep sense of unease and fear, mixed with an intense curiosity about how the story would unfold.

In some ways, the film feels like a blend of Prisoners and Nocturnal Animals, yet it’s shot with a certain everyday, almost documentary-like realism. The story equally explores the lives of all the characters, showing their development or, conversely, their decline. It's remarkable how the direction manages to hold your attention and continually surprise you with the twists in the plot, where you truly can't predict what will happen next. Unlike typical thrillers that throw in every possible trope just to unsettle you, The Vanishing offers so much more beyond its steadily building suspense. The film succeeds in creating a believable reality, presented with such everyday normality that you can't help but believe this could happen to the characters. Their reactions, actions, and motivations feel so grounded in real life. Isn’t that the highest praise for a film that terrifies you to your core with the idea that this could happen to any of us?

The less you know about this film going in, the better your experience will be. This is one of those rare moments when saying too much could spoil the magic, so I’ll stop here to let you discover it for yourself.

9/10

#film

You Can't Beat An Original (2024) dir. Tom Day

Adidas teamed up with Barry Keoghan to bring this 2024 commercial and provide another striking example of blending original ideas with nostalgia, harking back to the era when Trainspotting held a special place in people’s hearts, and the Underworld track “Born Slippy” sent chills down the spine. The ad plays on these emotions, recalling the iconic characters from the film and the slogan “Choose Life” making several strong homages to the movie. Keoghan’s presence and the retro-inspired visual style perfectly align with the campaign’s message of embracing one’s unique path while honouring the cultural milestones that shaped us.

10/10

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Upon Entry (2022) dir. Alejandro Rojas & Juan Sebastián Vasquez

A couple is flagged by a border agent and forced to endure an invasive probe into their lives.

I’ve always been fascinated by films set in a single location with a minimal cast. Classics like "12 Angry Men", "The Rope", "Buried", "Whale", "The Guilty", "Malcolm & Marie", or more recent films like "Sanctuary" and "Inside" come to mind. In such settings, the true power of directing, screenwriting, acting, and various other cinematic techniques is fully unleashed. With minimal resources, these films manage to tell stories of immense scale, touching the deepest emotions and leaving viewers utterly captivated. I aspire to create a film in this style myself, so I’m always thrilled when I discover another worthy addition to my list of chamber films and Upon Entry is undoubtedly one such film.

Based on real-life stories of people going through passport control after arriving in a foreign country, this film captures that nerve-wracking experience when you approach an officer and encounter an unusually prolonged document check. Your mind races, considering all possible outcomes as you wait for the dreaded moment when you’re called into a special room for questioning. While I’ve never experienced this myself, this film offers a glimpse into what happens behind those closed doors, especially if you have something to hide.

Using the bare minimum of resources and confining the action to just a few rooms, the directors weave a story filled with fear, anxiety, secrecy, and mistrust. As the audience, we find ourselves constantly shifting perspectives, trying to figure out whether the main characters have something to conceal and, if so, what that might be. Thanks to the skilful direction and transitions, the 70-minute runtime flies by in the blink of an eye.

8/10

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Inside Out 2 (2024) dir. Kelsey Mann

Inside Out 2 is a sequel that follows Riley as she enters puberty, encountering new and more complex emotions. As Riley navigates her teenage years, her old emotions must adjust to the possibility of being replaced by these new feelings.

It’s nice to take a break from dramas, thrillers, and horror movies to enjoy something bright, light-hearted, and still very engaging. Like the first movie, this sequel is great for all ages. It shows the complex changes during puberty in a magical, serious, and funny way. Adults can reflect on their own experiences, laugh at how true it feels, or use the movie to help kids understand their own emotional changes.

Since the earliest Pixar films, I’ve never paid much attention to the graphics, even though they’ve always been industry leaders. Here, as always, the story takes center stage. The magic of Pixar lies in their ability to tackle topics that resonate with a wide audience — such as friendship, purpose, love, and death — in an entertaining manner. Regardless of age, gender, nationality, or race, everyone can find something meaningful in their films and provides a lot of topics for discussion after viewing, making it an excellent choice for thoughtful conversations with your friends, partners or family.

9/10

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Trap (2024) dir. M. Night Shyamalan

A father and his teenage daughter attend a pop concert, only to discover they’ve stepped into the heart of a dark and sinister event.

From the first time I saw the movie’s promotional material, I was excited and couldn’t wait to watch it. In a way, I felt “trapped” by this film because the trailer and denoscription promised one thing, but the movie only keeps that promise until the halfway point. After that, it starts to fall apart right before your eyes. At first, the movie sets up an interesting concept, like something from Brian De Palma’s film Snake Eyes, with a serial killer playing a cat-and-mouse game at a pop concert with his daughter. This concept was amazing, and I thought it would be a 10/10 for me. But once the story leaves the stadium, the movie seems to lose interest in itself and slowly turns into more of a comedy than a thriller.

I wondered why this happened and found out that the idea for the movie came to Shyamalan when he wanted to film a live performance for his daughter, who also plays the pop star. It seems like, after doing that, he lost interest and decided to finish the movie in a lazy way.

The only parts of the movie that really stood out to me were Josh Hartnett’s performance as a clever killer with mommy issues, who stays ahead of the police while trying to keep up appearances for his daughter, and the cinematography by Sayombhu Mukdeeprom. The close-ups and framing in key scenes effectively show the main character’s nervous world and give him a sinister charm.

In the end, we’re left with a great concept but a mediocre second half, where everything falls apart. It’s a shame that M. Night Shyamalan wasted his potential, focusing more on making a video for his daughter than fully realizing what could have been a great idea with the perfect actor to play the serial killer dad.

6/10

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Kith & Giorgio Armani: The Artist (2024) dir. Martin Scorsese

When a legend like Martin Scorsese in both roles as directing and behind the camera, you know it’s more than just a commercial — it’s a cinematic experience. Don’t miss out and click to witness this masterpiece.

10/10

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La Bête (2023) dir. Bertrand Bonello

In the future, humanity discovers a way to rid itself of unnecessary emotions. Choosing to cleanse her DNA, Gabrielle embarks on a journey through her past lives, where she repeatedly encounters Louis. Each time, she feels an intense mutual attraction, yet she's haunted by a foreboding sense that something terrible is bound to happen.

On paper, the film presents a fascinating concept, inspired by Henry James' novella "The Beast in the Jungle". It borrows heavily from films like "Eternal Sunshine of the Spotless Mind", "Gattaca", "Mr. Nobody", and "Café de Flore". But before the halfway point, it starts to unravel, crumbling before your eyes like the very beast in its noscript, slain not by its audience but by its own pretentiousness. Weighed down by overcomplicated structures and the director’s ego, it becomes an endless parade of stylistic flourishes that ultimately detract from the story rather than enhance it. As a fan of "Eternal Sunshine", I left the theater wanting to revisit Michel Gondry's masterpiece, which tells a profound story of love and rebirth without the need for such heavy-handed constructions. Sometimes, simplicity leaves a far more lasting impression on the soul.

That said, the film does have its strengths. Léa Seydoux is mesmerizing in every frame she inhabits, and the production design is impressive, as is the cinematography, which blends different stylistic choices with meticulous framing. Visually, it’s rich with potential — almost begging to be dissected and used for inspiration.

Ultimately, "La Bête" is a film that strives too hard to stand out, and in doing so, falls into caricature. It becomes less a memorable experience and more a tedious exercise in style over substance.

6/10

#film

Sing Sing (2023), dir. Greg Kwedar

Divine G, imprisoned at Sing Sing for a crime he didn’t commit, finds a sense of purpose by joining a theater group with fellow inmates. This is a story about resilience, humanity, and the transformative power of art.

You know how sometimes in life, you’re standing at a crosswalk, waiting for the light to turn green, and you lock eyes with someone across the street? You don’t know each other, but in that moment, out of all the people around, you somehow choose each other. There’s already a story between you, a subtle level of trust, as if you’re old friends or partners from a past life. That’s how I felt with this film. From the first moment I heard about it, saw the stills and the poster, I knew it had something to say to me. And, as usual, my intuition didn’t fail me. I can confidently say this is one of the best films I’ve seen in 2024, and from this moment on, I’ll be recommending it to everyone. For some, that might be enough to stop reading and add it to your watchlist immediately — trust me on this one.

This is a film about belief and hope, about finding an escape from the bad toward the good, about a thirst for life, the power of creativity, and how we can find light in places that seem entirely shrouded in darkness. It’s about the importance of patience and the ability to wait, even when it seems like every last chance has slipped away. “Sing Sing” are like a healing remedy, reminding us that cinema is far from being in crisis. There are still directors out there who can genuinely move us and reignite our belief in the art form.

Everything in this film serves the story and looks so real — stunning cinematography, a magical soundtrack, captivating performances and the flow of the plot. Not a single scene feels unnecessary, and there isn’t a wasted word. It’s one of those rare films you want to revisit after some time, with themes that stay with you long after the credits roll, sparking reflection and conversation.

10/10

#film

Sing Sing – Soundtrack (2023)

The magical soundtrack by Bryce Dessner, which not only complements the world of “Sing Sing” beautifully but also stands out as a stunning listen on its own. It is truly something special.

🎵SPOTIFY or APPLE MUSIC

#music