Cinema'n More

  Primetime  (2026) Returning to the Venice Film Festival after a year is an indescribable feeling. It honestly makes me feel so good knowing that my passion drives me this far just to watch movies. I don’t know, I’m proud of this thing that might seem insignificant on the surface. The streets leading to the Lido put such a deep sense of peace over me, and walking through them with the girl I love makes it even better.
This year brought a new A24 title (just like last year), and with low expectations and very little information about it, Daria and I found ourselves watching the highly anticipated Primetime. I’ll try to be concise, partly to avoid giving away too much information given the preview nature of the screening. I liked the film, not overly so, but not too little either. I see it as a minor work in the A24 catalog, not because it’s disappointing, but for the simple reason that it’s a short film, perhaps too short to fully immerse oneself in.
Let me explain.
Primetime ...

    Bugonia  (2025) Strange film…a very strange film, not necessarily in a negative way, actually, but I think it’s objectively fair to call it peculiar. I only just discovered while writing this review that it’s a remake of a South Korean film, good to know. From my side, for a remake, hats off. Yorgos Lanthimos returns to directing after an insane run, marked by two successes (including this one) and one gigantic failure which was (personally) “ Kinds of Kindness ”. At the end of this long relay race, the Greek director (who here also keeps the title inspired by his origins) hands us the “baton” that is “ Bugonia ”. As in almost all of the director’s films, the technical register is untouchable. Excellent cinematography, dirty, extremely grainy, made of very warm and highly saturated tones. The use of the wide-angle is customary for his filmography, even if here he didn’t overdo it as usual with overly “distorted” or “fisheye” lenses. To narrow the field, the choice to...

  Wuthering Heights  (2026) "Wuthering Heights", from the very first trailer it looked like an epochal cringefest, and when I then remembered the director was Emerald Fennell (Promising Young Woman and Saltburn) my expectations sank even further. However I decided to give myself this Valentine’s Day gift and went to see it with Daria. The premises online were also of a half-pornographic film that only partially winked at "Wuthering Heights" (book), something that from the start didn’t particularly bother me since I’m very in favor of artistic digressions from the source material. The real problem that emerged after seeing it is another.  The huge flaw, with a capital F, of this “Wuthering Heights” (2026) is its lack of courage. It’s a film of disarming cowardice, that neither dares to be as scabrous or provocative as "Saltburn" (or the premise everyone talked about EVERYWHERE online) nor close to the original work. Neither meat nor fish, to put it simply. ...

Hamnet (2025) Chloé Zhao has always been one of my favorite filmmakers. With " Nomadland"  she completely won me over. A simple visual approach that contained a universal cynicism and solitude. One of those films far ahead of the Academy Awards that still managed to break through the mainstream barrier and win a large number of statuettes. A decaying journey in search of the inner self. " Hamnet" had intrigued me from the very beginning. Putting Shakespeare’s work aside for a moment, it had all the right ingredients to draw me in. An excellent cast (led by two Irish giants like Paul Mescal and Jessie Buckley), a director I adore, and a fascinating setting. Moreover, months ago I was already hearing whispers from the far West calling the film an incredible emotional masterpiece made of tears and heartbreak. Well, what can I say, I have rarely felt more misled. The story has a strange structure. It feels like a work built in sealed compartments: the first portion, he...

  Marty Supreme (2025) What a fucking cannon, my friends. What a fucking lethal cannon.  Marty Supreme is a monumental cinematic work and without a doubt the film that crowns Timothée Chalamet as one of the greatest actors in Hollywood. After the colossal piece of shit that Uncut Gems was (which, to me, remains one of the most confusing and overrated films in the history of cinema), I was terrified of the moment Josh and Benny Safdie would get their hands on a camera again. Later on, I found out about their professional split and that made me curious and, in a way, reassured. With this 2025 film directed solely by Josh, I have to take it back. The direction is insane, sharp, with extremely tight framing that wants to focus ONLY on the characters and nothing else, especially on the character of Marty Mauser. And what a character, Jesus Christ. What a fucking piece of shit. Not because the acting isn’t adequate (we’ll get to that in a moment), but because he is genuinely a colos...

28 Years Later: The Bone Tample (2026) Holy fucking shit, this is how you make a goddamn sequel. I had hated Danny Boyle’s “28 Years Later” under so many aspects. For the forced, overly mannered direction. For the cinematography shot with the iPhone 15 Pro, but also with insanely expensive anamorphic lenses that made the budget skyrocket. For a story written like ass and a staging (both CGI and directing choices) that was genuinely questionable.  Here…here we’re witnessing the return of Christ, or rather, the Devil himself. The story picks up shortly after the end of the previous film, but you can immediately feel a huge difference and a completely different “texture”.  They actually use a proper cinematic photographic setup, not some mid-20th-century Berlin experimental piece like Boyle did for absolutely no fucking reason. Here the image is pure Cinema, and so is the story. Alex Garland comes back to his senses and writes a brutal, insanely violent (sometimes even too much) ...