Cinema'n More

  Digger  (2026) Iñárritu coming back to work with Chivo after The Revenant couldn’t help but get me hyped, especially with a legend like Tom Cruise added to the equation. I had saved myself from the last few trailers because from the very first images released it had me hooked, and after seeing it in the theater, what can I say: I’m just pissed off that it’s flopping hard, because this is a film that needs to be seen and needs to be seen now. It’s an extremely political work, but visceral and necessary in a historical moment like this. A bit preachy at times, but justified by some brilliant narrative choices that will leave anyone wide-eyed after the first few minutes. It brought me right back to the old vibes of Birdman (personally my favorite from the Mexican director) and trust me when I say you’re not ready for some moments that just leave you floored. The strength of Digger doesn’t just lie in its narrative brilliance or its senseless staging, characterized by a surreal-...

   Resident Evil  (2026) This is 100% a Resident Evil movie. You can really tell that Cregger had a blast like an idiot bringing this incredible universe to life and amplifying it. As a glazer fanatic of the games, I found this film incredibly fun and a much-needed breath of fresh air for this franchise. By saying this, I don't want to take anything away from the chapters made by Paul W. S. Anderson with Milla Jovovich, which mostly remain great monster movies with a vibe that is still unique today. Cregger sticks to a simpler, more linear plot, just like the games, but no less well-structured and staged for it. What seems simple on the surface hides excellent filmmaking and really smart narrative choices behind it, so much so that it makes the whole thing feel like an actual video game with levels. You start in the countryside, and as in any self-respecting Resident Evil, you end up in an Umbrella Corporation lab.  Even the way our protagonist recovers his gear is s...

  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...