insightflow Reviews

Moonage Daydream (2022)

True homage to an intellectual

[10/10 · 22 November 2022]

Not a Bowie fan, I was reluctant to see this film, even tried to get rid of a ticket. I'd come to discover that such a reluctance was initially a Bowie trait. And after the impressive cinematic journey, I find myself reluctant to write an impression.

The film captures an intellectual, matching up his astuteness, alienation, and self-embrace. I didn't find it at all intrusive or fragmented, as others have suggested; on the contrary, it carefully succeeds in merging together the fragments that were Bowie's world initially; the world at large he deems chaotic, while gluing it with self-reflection, to finally - painstakingly yet miraculously - melt the fragments in the empathy he direly lacked in childhood. This film is really a homage: it depicts an individual on the edge of losing his mind in the process of getting it together. This is the real feat (managing to be "a rock star" while keeping the fanatics at a distance no lesser one). At long last he is comfortable, yet he never conforms; he becomes intimate with himself, while keeping his "generalistic" stance.

Take the journey and discover for yourself... discover yourself. There's the sense of sunshine as the aftertaste; even the feel of someone watching from above, watching over us, over this life he loved and never wished to abandon.

I never was a Bowie fan. I never will be, but now I am more - a follower of a rare one worthy of being followed, because all his signposts point to transcendence.

Never the actor, never the entertainer, never the mask/person - Bowie (whoever and whatever he is) has arrived where he wanted... where they wanted.

Mascarade (2022)

Thoughtful and enjoyable

[9/10 · 20 November 2022]

Very stylish, flawlessly acted (particularly loved François Cluzet), intricate yet realistic and not overly dramatic.

I disagree with it being characterised as satire in another review - this is subtle (or not so much) psychological drama from different viewpoints, which suffers only from its multidimensionality. Towards the end of the film it was difficult for me to keep track of the whole intrigue; nevertheless, it is a deep character study, without the scrutiny which would make it satirical.

The female characters are in their core earthy and sane, despite the ostensible drama; the males are unstable. This may be setting the record straight; I was in fact surprised the author is male.

The cinematography is lavish and pleasant.

Come to My Voice (2014)

Transcendence in Kurdistan

[10/10 · 27 May 2015]

I am amazed this film has got no reviews, and has such a low rating. It won the Foreign Film award at Sofia Film Festival, and for a good reason. It is profoundly moving. Upon leaving, I was left with a "Buddhist" sense of transcendence, and even confronted the director with the silly question of how close to Central Asia lake Van was. Most importantly, he answered my other question - these characters were real. The old storyteller, the sublime figure in the film, was still living and telling. Despite immediate reality. The old lady's story was also similar to the one depicted: her husband was a fighter. The picture spoke to me in the lines of imminent reality transcending the immediate. Of inner peace providing the grounds of both immediate and spiritual survival. I was stunned with the humility of the people depicted. With the culture still based on spoken word, and for that reason perhaps still existing, compellingly. In today's-world detachment, the most obvious becomes stunning - like an old storyteller borrowing the meaning of his life from traveling on, to tell the tales of fellow-journeymen. From bowing down, and meditating on the shores of lake Van. Not many words can describe the beauty of the film, and story. Just see it. And bear in mind, these people live. Today, in the same world as ours.

The Lesson (2014)

Survival and womanhood in a post-totalitarian realm

[6/10 · 23 March 2015]

"The Lesson" has recently received acclaim of almost poignant proportions, empathising with the drama of the schoolteacher heroine in a valueless post-communist state. Being Bulgarian, I can attest to the dramatic existence of teachers here, and would reiterate the fact the film is based on a true story. While the meager pay and monstrosity of society, hence youth's behaviour, is enough to drive one insane, I feel there's a fact which the film treats leniently, and in my eyes, illogically. The pillar of the family, teacher Nadya, is successful in keeping things together (even if unpaid for the side job she does) - until her house is broken into by debt collectors due to her husband skipping monthly payments, while misinforming her all had been fine. Whether she should have confronted him might be debatable, if holding spousal loyalty on a pedestal (which is in my opinion exactly what the film does), yet it is astonishing she should unquestionably take it all upon herself to fix the situation; if that is not enough, her junky-camper-enthusiast husband (far more detracted than, say, Jim Broadbent in Life Is Sweet) scolds her when he finds out she had resorted to a loan shark. The real tragedy the film conveys is that of, I dare say, the average Bulgarian woman who stoically puts up with the often good-for-nothing drunk or slacker husband, because... (here steps the lack of logic, and the lack of questioning by the audiences in Bulgaria). In the real-life story, the teacher had even won a Green card, and had everything ready in order to depart, when the husband got into a drunk-drive accident, nearly killing a passenger. The real heroine is apparently still dragging him on, while having made yet another relative success of her life, now in France. (She had got a 18-month suspended sentence for her crime.) Inadvertently, this film is a testimony of patriarchal post-Ottoman morals, superimposed with the post-Soviet narrative of a woman as crane-operator, or other industrial hero who is also head of the family and pillar of society (after the Mother Russia mythologem) - here being forced to disintegrate. Even statistics beat the myth, with Bulgaria nearing the bottom of worldwide birth rate's table, with war-torn countries above us. The acting of Margita Gosheva is superb if schematic (and her resemblance of the real-life heroine amazing), due to either storytelling shortcomings or intention. I agree with the NY Times reviewer that the story might have been more vivid and character-driven: we still are clueless as to Nadya's emotional landscape, as if it should not even be our concern. For generations, Bulgarians have been raised by being sworn to secrecy and the stiff-upper-lip, while having also been taught obedience: potentially an explosive character mix, which however tends to implode; a process the film registers. We cannot but admire the tight-lipped portrayal of survival-genius overtaking the heroine's inherent femininity. (For an introspection to womanhood, see Margita Gosheva's equally impressive previous role in Three Days in Sarajevo.) My review might be slightly unappreciative, while the filmmakers' intent at a humorous approach to the otherwise gritty story justifies the schematism/intellectual detachment, and is both refreshing and admirable.

I, Psychopath (2009 TV Movie)

Help!

[10/10 · 14 February 2011]

I came across SV's writings following online manipulation by a narcissist, like many others. I did find a lot of it credible, although I immediately got suspicious due to some instances where he seems to lose his "objectivity", and make claims such as "the universe is chaotic and intrinsically evil; my future looks dark", etc. I contacted him on FB and he'd respond to some of my messages - he'd ignore others, which raised my suspicion. Luckily for me, soon enough one of his groupies linked me to this film. How could have someone seen it, and still be a "groupie", is beyond me. Anyway, I spontaneously commented: "Lidja needs help!" - after which I was immediately deleted from SV's friend-list. Let this serve as a good lesson to me - I believed he did actually have some common sense.

He looks like a desperate and distressed child, moreover, making such silly self-compromising mistakes. So, the answer to a commenter above is - no, a psychopath cannot unfortunately be self-aware.

But, while typing all this, I keep thinking one thing: this person, Lidja, is with this thing now. And nobody does anything to help her??!!

P.S. I totally agree with the comment of Shemzl. I did have the feeling the filmmaker was unnecessarily involved, and making himself an object of his film, along with Vaknin. However, this could serve as a further warning to the viewer - do not underestimate the suggestive power of manipulators.

The Lady with the Dog (1960)

Classic

[9/10 · 14 October 2008]

The first classic trait of the film which captures the senses, is the outstanding cinematography - as one viewer notes, in the best traditions of silent film. Indeed, too much is left unspoken by the characters. Everything's a delicate and delightful play of fine sensations - a feast for the intelligent viewer whose thread through the labyrinth of characters' feelings is often a glimpse, a twitch, and a seemingly inconsequent line in Chekhov's text. A great burden lies on the shoulder's of the two main actors, Batalov and Savina. While the former does a brilliant job, the latter, in my opinion, is classes underneath. She is fit to play a typical Soviet-era character, not Chekhov's.

Anna Karenina (1967)

Soviet-style patheticity

[6/10 · 12 October 2008]

I must agree with 'iliawarlock' on Samoylova's performance - but even though this is undoubtedly the weakest link, the film doesn't hold on many stronger points. Samoylova, who is best suited to play Soviet peasant or worker, is only the emanation of the overall psychological flatness, ignorance and self-content, characteristic of many destroyer-of-classic-texts communist era films. Plisetskaya is brilliant, and Lanovoy is also delightful. An interesting fact is that, before a screening which took place in Sofia, Bulgaria, the still magnificent Vasiliy Lanovoy commented that his character Vronsky was incapable of the great love which Karenina had the gift for. From his performance, I got quite the opposite impression of a highly sensitive and devoted Vronsky - but thats the greatness of a complex text. Too bad we cannot witness a complex (if any) psychological interaction with Karenina in this dramatization.

Chillers (1990)

Good Patricia Highsmith adaptation

[8/10 · 3 March 2007]

I am actually quite surprised to see this show being so unpopular. If you like Roald Dahl's Tales of the Unexpected, this is largely similar. The series are based on Patricia Highsmith short stories: Slowly, Slowly in the Wind; Under a Dark Angel's Eye; The Stuff of Madness; Something the Cat Dragged in; The Birds Poised to Fly; Sauce for the Goose; A Curious Suicide; The Thrill Seeker; Something You Have to Live With; Blow It; The Day of Reckoning; Old Folks at Home. The show succeeds in displaying (at least to some extent) Highsmith's sinister atmosphere, delving into the darkest depths of human nature. It is true that some of the episodes are rather slow, but most succeed in keeping the viewer's undivided attention (isn't that the case with Tales of the Unexpected also). Some of the episodes are particularly well-done and creepy; with great musical setting; and perhaps the show's biggest asset is the cast of the best British actors.

Anatomy of a Murder (1959)

Not a mystery:)

[10/10 · 22 January 2007]

This is a brilliant film from Preminger; however, wrongly qualified as a "mystery"; while in fact it is closer to film noir. You've got a case of supposed rape, a trailer-thrash slut of a wife, and a dark suave husband who couldn't be trusted. The wife, "raped and bruised" by a bartender she fooled around with, the jealous husband kills him in rage, and a naive lawyer takes upon his defense. The film doesn't keep you guessing too much - do not expect twists and turns. The pleasure is elsewhere. The music by Duke Ellington adds greatly to it; you will even see him appearing. And I just loved a final line (remember, "gentlemen drink gin"): "I knew there was something wrong with that guy. I've never met a gin drinker yet you could trust!". 10 out of 10.

The Twilight Zone: Perchance to Dream (1959) Season 1, Episode 9

Quintessential Twilight Zone

[14 February 2006]

I am surprised to not see a comment on this episode, hence mine. The episode deals with the elusive boundary between sleep and being awake, aiming to once again stir our perceptions and notions of reality. (Mind you, I shouldn't say "once again", since this is only episode nine.) A man finds himself at the psychiatrist's office with a reoccurring dream of a woman named Maya chasing him. She pushes on the limits of his fragile heart, and, should he fall asleep one last time, he will not survive the roller coaster. He's forced himself to stay awake for 90 hours before visiting the doctor...I won't give away the ending for you.

The Twilight Zone: One for the Angels (1959) Season 1, Episode 2

The Twilight Zone charm at its best

[12 February 2006]

I have been almost obsessed with The Twilight Zone for years, having collected pretty much all episodes; however, it was "One For The Angels" to truly launch me to the "twilight zone" one night. Perhaps it was Ed Wynn's fine performance to combine with the Storyteller's all-engulfing warmth that made the magic tangible. I remember that night and that episode made me a believer and advocate of art's pretence to Truth, rather than remaining a crippled rationalist. All meaning is suddenly revealed, if only we have the subtlety of senses needed en route for The Twilight Zone. The poetry of this episode, even though much lighter, can compare in its depth and fineness with 1985's "Toys Of Caliban". (Great acting by Richard Mulligan there, too.)

The Law (1990)

A film worth seeing

[8/10 · 28 March 2005]

I saw this film within Sofia Film Festival in Bulgaria. It provided me with a rare chance of stepping aside from the weary problematism of civilization, into an area most immediate to human nature. Being outcast, murder, suicide and all the problems of existence are treated here with great simplicity. Life is taken as it comes and people are alien to dramatism. Overall serenity dominates this non-dramatic environment. A great musical setting contributes to the the naive perception of being and the inner peace with which the viewer is left. The film's artistic significance is probably in its allowing for constant self-finding.

Bluebeard's Ten Honeymoons (1960)

See it for George Sanders

[7/10 · 18 October 2004]

This is quite a stylish suspense, which would not have been the same if not in black and white. George Sanders portrays a middle-aged man losing his head for a mercantile young temptress (a very good performance by Corinne Calvet), and finding himself driven into a series of cold-blooded murders. Sanders makes the film what it is with his convincing portrayal of an obsessed and relentless character. If not for the dull ending, this would have been a great film noir; however, it does not live up to Sanders' charismatic and sarcastic appearance, which seems to be squeezed into a predictable thriller. Nevermind, still quite enjoyable. 6/10.

American Psycho (2000)

A brave, blunt, desperate social satire

[10/10 · 23 February 2003]

I was compelled to rent this film by the other comments I read here, generally describing it as a brilliant satire. A very dark satire indeed. This, by the way, is literally verbalized in the main character's last lines something in the regard of: I am unable to sympathize, I only want to inflict pain on others; Expressing my pain does not make me feel any better, hence I see no hope for our world. We are witness to the development in the character - an entirely soulless entity, a killing machine, the very extremes of his behaviour leading him to some type of catharsis. The catharsis, however, does not bring relief - he is bound to agonize forever, finding himself in a completely dehumanized environment. A glimpse of hope is still possible to catch through the only openly humane character of Jean, to whom our hero attempts to reach out in his utter agony (ironically, Jean is the only one he held back from killing). "American Psycho" is a brave, blunt, desperate social satire; the last warning signal there could be. It is so shocking, it is easy for the viewer with dull senses to see it as "pointless".