“Mom Gloria”, “Tranzit” and five other films in cinemas

Many are the films to be shown from today in , however film interest is rather subdued and concentrated on “Mama Gloria”. The very good, but not impressive, opening of “Dune 2” brought some smiles to the Ethiopians, although the rest of last week’s films had almost disappointing results for the cinemas. Of the seven new films, premiered tonight, stands out the dramatic “Mama Gloria”, while in notable is the reissue of Bernardo Bertolucci’s epic biography “The Last Emperor”. Mama Gloria (“Ama Gloria”) Dramatic film, French production of 2023, directed by Marie Amatsukeli, with Louise Moreau-Panzani, Ilsa Moreno Zego, Arno Rebotini et al. A pleasant surprise, which comes to flood us with authentic humanity and emotion, to heal from the illness of cynicism and selfishness, through the raw childhood look. Mari Amatsukeli, a French Georgian of origin, with her film, which opened the week of criticism at last year’s Cannes festival and won Gold Alexander for the Meet the Neighbors section of the festival of Thessaloniki, proves that it is enough to create a beautiful film experience, when the heart speaks, simply, comprehensible and without theories or strange symbols, teachings or conventions of political correctness. Having as a symbol of this humanity, an amazing young woman, Amatsukeli will speak of their loss, abrupt adulthood, the suffering of people and especially women, who come to the outside to serve us, raise our children, give spontaneously their love, as they had learned from their mothers. And with an elaborate discretion it will also pass through the results of colonialism, but also the open wound of the migration crisis – especially when humanity is exhausted in numbers, interests and the need for cheap labour hands. Gloria, who has left her daughter and her young son in her hometown, Cape Verde, has emigrated to Paris to raise money, which she sends to her children. As a nanny of the motherless 6-year-old Cleo, with the purple curls, the cute face and the thick myopic glasses, she has replaced her mother, as her working father, who loves her, has no time to deal with her everyday life. But when Gloria learns that her 20-year-old daughter became pregnant and has to return home to help her, Cleo will feel the loss of her mother for the second time and will therefore make the decision to travel to Cape Verde for the summer. Through the clear look of Cleo, we will come face to face, as she herself, with poverty, the difficulties of life in the African country, but also the outside heart of the locals, from whom she will receive love, but also the innocent jealousy of the children who lost their mother for a French girl. Amatsukeli, with a special narrative ability, directional simplicity and thoughtful look will get the point, highlight the subtle, gray zones of the child’s trauma. Without commenting, the camera invades fragile childhood souls, highlighting the need for affection, sensitivity and embrace. The burden of maternal loss is everywhere, but the emotions of Orphany are transmitted lightly, without heavy humanist messages. Heartiness, simplicity, sensitivity, empathy, exemplary narrative, but also very good work in the photography address, which warms up the little girl’s particularly close shots, highlighting the feeling, but also all these small and large ones that will shape his character. But our biggest surprise comes from little Louise. Moreau – Panzani, playing Cleo, who manages with a remarkable maturity, to convey the complex psychology of an orphan girl and accepts her harsh adulthood, with yet another loss. A few words… Six-year-old Cleo loves her nanny, Gloria, more than anything else. When the woman returns home, Cape Verde, Cleo will visit her to spend one last summer together that will change them both. Some “Someday We’ll Tell Each Other Everything” Emotional drama, of German production of 2023, directed by Emily Atef, with Marlene Barrow, Felix Cremer, Gerdis Tribel, Christian Erdman, Christine Sorn et al. A cursed, fleshly love on the verge of modern German history, when the unification of the two countries is being prepared after the fall of the Berlin Wall. A love melodrama, through a history of adulthood, placed on the borders of the two countries, in Thuringia, which has its charm, but also moments that cause the spectator to distance himself or indifference, with the platitude that the film presents sometimes. The 130 minutes of the film, seem, some moments, exhausting, for a story, based on Daniela Crane’s bestseller, which could be said much more comprehensively in much less time, while giving greater emphasis to the essence, but also the historical, social and political context, where it takes place. The German French woman, from Iran, Emily Atef, we met her with the biographical film about Romi Schneider, “Three Days in Kimberon” and we felt that she could give something better in the future with the dramatic “More than Ever”, it would be quite convincing, with this erotic drama, if she followed Iran’s narrative film school, from the new trends of German cinema, which really often blur out even the most distinct issues they handle. The script, worked together by the director with the author, wants a 19-year-old to fall in love with a lonely, rural, 40-year-old neighbor, a rancher, who attracts her erotically and oddly, while staying at the home of her young fiancé’s multi-member rural family, as her divorced mother cannot live her. And these in a village next to West Germany, when the season comes to fall the border. On the one hand, the film makes the portrait of a family, through which it misdemeanorly describes the social and political implications of modern German history and on the other, sets up a strange “lav story”, two different people. A girl the age of adulthood and a 40-year-old baked and almost wild rancher, connected by the love for literature and especially Dostoyevsky – however much this may seem inconvenient to both. There is, however, the love act, often animalistic, that unites them and this has the greatest interest in history, although there are not few times when questions remain unanswered about their relationship. There are, however, also the drawing images of the German countryside and the complementary characters that renew interest in a story that you have learned from early on. However, the psyche of all persons in history and especially the “illegal” couple is controversial, as their behaviors are attributed one-dimensionally and rather as a product of prejudice that they are people influenced by the eastern German regime. The young and quite attractive Marlene Barrow may upset her long shots when she bikes in the fields, but she has no expressiveness, nor rather the acting ability, to convince us of her role, unlike charming and quite mysterious. Felix Kremer, who is obviously the strong pole of the relationship. In the summer of 1990, the border between East and West Germany, which are now preparing for the union after the fall of the Berlin Wall. 19-year-old Maria lives a good life with her friend’s family. But everything will change when she meets a fairly older man, a lonely and with a bad reputation, who will light the flame of love… Tranzit (“Tranzit”) Dramatic film, Greek production of 2023, directed by Karolos Zonaras, with Pantelis Detakis, Maria Koubani, Gregory Galatis, Dimitris Pouliakos, Takis Sakellariou, Jeo Pakitsas etc.Another promising film from Greek cinema, is this dramatic fiction film by Karolos Zonaras. A black-and-white and well-enlightened film, referring to the existential films of the 1950s – ’60s and creating a metaphysical landscape, dominated by the obsessions of heroes. In his fifth film, Zonaras manages through his multi-teaching script and temperate directorial look, to surprise and thrill, but also to leave many questions about the course of his heroes. Having an issue, which gives him the freedom to move comfortably, as theories about posthumous life are numerous, Zonaras will move between doctrine, tragedy and irony, while the harsh environment, exacerbates the anguish. However, sometimes excessive freedom can lead to the streets of fraudsters, making, for no reason, the easy difficulties. In an indefinite space and time, people form a circle in the soil on their feet. All of them are dead and at the turning point for their final departure. A man resists, tries to prove a theorem that may give him a chance to come back. He wants to know what happened at the time of his death, as he was not alone, his son was there for him. But in the particular transit he is not alone again. Without his father knowing he’s watching him. The story initially shows inaccessible, but slowly unfolds functionally and comprehensiblely for the viewer, who may also feel uncomfortable at times, while believing that he is far from the director’s existential struggles. Zonaras, having knowledge, but often not supplies, a remarkable production behind him, for a science fiction film, will hardly balance his momentous and overly dramatic story, which reaches the limits of an ancient tragedy, while he cannot avoid the traps hidden by symbolism and allegory. Zonaras’s effort is particularly ambitious. Because he understands that his creation is thrown into the deep and must float despite the well-known pathogenies of Greek cinema, experimentation, repetition of patterns, micromechanism, weak scenarios and poor production. Zonaras fought it, losing and winning battles and certainly maintained his boldness and faith, for one, at least, interesting and contradictory film proposal. A few words… After the insoluble enigma of their death, Father and Son reunited in Transit, a anhydrous and deserted non-place, an imaginary ephemism controlled by abstract mathematical principles and where the dead are called upon to decide: to accept their dematerialization process or to remain in indeterminate forever. Here, Father’s memories are confused with those of Yu, rekindling old conflicts. Trying to shed light on what led to his death, Father relies on his knowledge of mathematics to follow a crazy idea: to return to life. Dog & Cat: A Crazy Pursuit (“Cat & Dog – The Great Crossing”) Family comedy adventure, French production of 2024, directed by Rim Kerisi, with Frank Dibosk, Rim Kerisi, Philippe Lasseau, etc. Family adventure from Paris, to stare at the family around the table and stop children fighting each other – but not for long, since at some point the festival will take place. The film of actress and lately director Rim Kerisi, which is more suitable for domestic use, combines digital animation with live action. Digital quadrupeds will host until viewers get used to them, especially of older ages. After all, it is a film aimed mainly at the children’s audience, which is why it is shown and compiled in Greek. The story brings together a young woman with a notorious thief and together a cat, famous in the “social” and a dog, who has swallowed a precious ruby, since the second’s robbery. And in person a demon policeman who will follow them to Montreal and New York. A farce – a variation of the “Laides and the Tramp” – that has few moments of laughter, gangs most often do not find a goal, while as an adventure they are quite banal, reminiscent of the American films of the genre since the 1990s. Rim Kersey, in front of the camera, starring alongside the sympathetic Frank Dibosk, seems to have no contact with comedy, while in the role of the demon detective France’s commercial star Philippe Lasseau. Diva is an influencer cat with millions of followers. Tullis is a stray puppy who accidentally swallows a ruby of invaluable value that the notorious con man Jack has just stolen. Through a series of unfortunate events, the two pets are hunted by a corrupt policeman who wants the ruby. The movies are still on: 100 Years by Ulysses (“100 Years of Ulysses”) Extremely interesting Irish documentary about James Joyce’s famous novel “Odysseus”, completing 100 years since his publication. Irish director Ruan Magan, however, follows the tramp, delivering an academic film film, quite informative and with encyclopedic elements, about the author and the book that decisively influenced 20th-century literature and artists in general to date. Joyce’s epic remains topical, with his almost prophetic remarks on extremism, xenophobia, chauvinism and oppression of the peoples. Magan and historian Frank Callanan’s documentary does not escape the trite, as an informative documentary, useful to those who want to learn more than the basics, about Joyce and his book. An Imaginary Friend Metaphysical horror, American production of 2024, based on cliché “who will save us from the child’s favorite stuffed teddy bear”. The well-known Horror recipe is developed by moderate director Jeff Watlow, with all the familiar elements of the genre and without any rejuvenation mood. Starring DeWanda Wise, Tom Payne, Betty Buckley Mrs. The Last Emperor Bernardo Bertolucci’s award-winning film with nine Oscars and numerous honorary distinctions, reissued. The great Italian creator of the “Conformist” and several films – important moments of the world cinema, delivers in 1987 an impressive and sturdy bio-spill, for the last emperor of China, who ascended the throne at the age of three and lived all the sweeping socio-political changes that occurred in his time. Bertolucci, focuses on the drama that the last emperor lives, when he is against the levelling conflict with the rapid change of seasons and the Chinese revolution, while highlighting the corrosive relationship of absolute power, which results in symbols of power scale caricatures. Bertolucci may not reach his other creations, but he has next to him, this huge director of photography, Vittorio Storraro, the true emperor of the film, who performs miracles, but also a production that ensures him a remarkable visual result. They play John Lon, Joan Chen, Peter O’Toole, Vivian Wu, Victor Wong ka.