Five with their own interest, but also with strong names, premiere tonight (16.01.2025) across the country. Of the films that stand out and will be shown today in cinemas are Luca Guantanino’s “Queer” with Daniel Craig starring in a completely different role. CORVERSE At the same time, the children’s favorite bear returns to new adventures in hybrid animation “Paddington in Peru”. Also featured are Jesse Eisenberg’s dramatic comedy “Truth Pain”, the police adventure “The Robbery of the Century 2” with Gerald Butler and the touching documentary “Nikos Kavukidis: The Power of Image”, for one of the most beloved and most important workers of Greek cinema. Queer (“Queer”) Dramatic era film, American and Italian production of 2024, directed by Luca Guantanino, with Daniel Craig, Drew Starkey, Jason Swarchman, Omar Apollo, Leslie Mansville and others.In his most personal film, Luca Guantanino, looks more mature directorically and bolder than ever. Taking the opportunity to reconstruct William Burrose’s mystery novel of the same name, which he wrote in the 1950s and decided to release thirty years later (probably due to its provocativeness), gives the impression of the director who found the story of his life. Fortunately, however, for him and his film, the hero of history may be a reflection of the director, but more is a tortured character, loyal to the spirit of the book. CORVERSE And that’s because when the book was published and worshiped by the New York Anderson scene, Burrows in statements told him that he did not feel that he belonged to gay literary circles or the gay community and that there had not been gay for a single day in his life – diversifying the definition of often confused gay and quiz concepts. Besides, Burrows, a late generation writer, has no inhibitions or standards, has his own world, flooded with his favorite opium. The small in volume book, but particularly influential, which until recently was considered to be inappropriate in cinema, will receive a fantastic dimension from the aggressive Italian director, who manages to convey the author’s highly unconventional unconventional spirit, delivering a wandering to the unconscious, an attractive film paradox, which was mainly filmed in the mythical studios of Chinecita. Two incidents in Burrows’ life (the case of his wife’s negligent murder, but also a love rejection) also explain in understanding the film, as William Lee’s hero (Barrow’s alter ego) through his endless abuses tries to hide his guilt over the loss of his wife. Wandering in Mexico City, in the late 1940s, he is the mysterious traveler in the white linen suit and pistol in the belt, who wonders about his identity, even when he gets away with abuses. He feels repressed, not necessarily erotic and like a not-so-class adventurer in South America, chasing the elusive, escaping the established way of life, tricking death. His relations with the other American expatriates in Mexico are few, as most of his time spends alone. Until he meets in a decadent bar a new student, who will cause him interest, will flash something into his cloudy mind. Film – divided into chapters – however, is not the memoirs of a hedonist, who drowns his grief in drink and in casual love, in a city shelter of illegal and “different”, but the endless pursuit of unrealized dreams where the seduction of seduction harmoniously binds to rejection, the pain of illusions. Guantanino does not miss the opportunity and with the freedom of the text, he will carry his story as an exotic fantasy, with the bright colors of Latin American megapolis, the electric sense of bars and night wanderings and the promising silhouettes, drugs and an anachronistic soundtrack, which highlights the timeliness of the heroes’ demons, oppressed passion, courageous experimentation and identification. The wandering of the hero with his friend in the jungle, in search of a mythical hallucinogenic plant which promises to release unknown powers to anyone who test it, will enable Guantanino to inspire certain delirium images, taken out of the best of cinematic superimmolism, but also to approach the universe of Burrose even more. However, the film, although the director modeled it twice and three times, to download its total duration to 135 minutes, some moments seem to be sailing for no particular reason, beyond Guantanino’s well-known figure mood, which, however, manages to finally do something special in his career, a film with substance and possibly found on the Oscars’ red carpet. Daniel Craig, far away from 007 who made him famous, will record an important multidimensional interpretation, capturing the grandeur of a hero who knows how to hunt, triumph and be defeated. A few words… 1940s. William Lee, an American in Mexico City, spends his days almost completely alone, except for a few contacts with other members of the small American community. His meeting with Eugene Allerton, a new student in the city, shows him for the first time that it may eventually be possible to create a close relationship with someone. True Pain (“A Real Pain”) Dramatic comedy, American production of 2024, directed by Jesse Eisenberg, with Kieran Kalkin, Jesse Eisenberg, Jennifer Grey, Will Sharp, Elora Torchia etc.The real pain may also be redeeming, contrary to the pains, the fakes caused by our times, the belief that if you are not happy or successful there is no reason for existence. And Jesse Eisenberg, the famous actor, in the second film he directs, proves that the only antidote to human pain is love ties to those we care about, people who connect us to our roots. Roots that Eisenberg explores in this tender drama, a wandering film, where humor binds to the wounds of the past, while the leading duo, the Kalkin – Eisberg, develops an excellent chemistry, with their completely different characters and the deep love that connects them. The independent production film, which was made in Poland – a place of origin of Eisenberg – and in which the cameras first entered a Nazi concentration camp without being a documentary, has been distinguished in festivals, while Kieran Kalkin won the Golden Globe for his performance. Flying for Poland, after their grandmother’s death, two completely unmatched cousins of Polish and Jewish descent, now classic Americans, see the journey as an opportunity to reconnect and get to know their place of origin. Following the widespread tours of cities and villages in Europe, which had large communities of Jewish people before the Holocaust, in order to get to know the past and pay tribute to those lost in the concentration camps, they will feel the need to explore their roots. Their tour in the past restores their family’s memories and wounds, its troubled history and will rekindle the comical difference of their characters. Eisenberg writes and directs, with measure and economy, a sensitive wandering film, on the occasion of the reunion of two cousins and best friends in their youth, slighting a number of issues – from the traumatic traits of a family to the atrocities of the German concentration camps in World War II – while determining the role of the opposing characters of the protagonists. The film may not have dramatic peaks or storming developments, but even in the simple and small instances of wandering the protagonists, on which the director’s camera focuses, has a meditation and especially an emotional charge, without particular melodramas. Avoiding the scenes that would bring tickets or flatter the central characters, but also the clichés, Eisenberg, who has also written a tight scenario, will explore Jewish identity and psychosynthesis, but also the guilt they feel when they know that millions of people have lost their lives, and will also show what real mourning means, the real pain that their people have experienced – even if they never met them. Kieran Kalkin, in his well-known hyperkinetic way and expressiveness, will be able to deliver a separate interpretation, while next to him Eisenberg stands adequately as a neurotic clumsy American who comes head-on with the ignorance of his family’s history. A few words… Two unmatched cousins, David and Benji, meet again after years to go to Poland after their grandmother’s death, to honor her memory. Their tour of the past takes a completely different turn when the troubled history of their family comes to the fore. The Robbery of the Century 2 (“Den of Thieves 2: Pantera”) Police adventure, American production of 2024, directed by Christian Gidegast, with Gerard Butler, O’She Jackson J., Jordan Bridges, Salvatore Esposito Mrs.If in the first film of 2018, screenwriter and director Christian Gidegast delivered a relatively well-known police adventure, full of action and with the necessary overturning in the finale, taken out of the famous Kaiser Soze and the excellent “Ordinary Suspects”, this time renews his date with his friends with the twisting wanting the “cop to become a gangster”. Veteran police officer Big Nick returns to his hunt, master in robberies, Donny tracking him in Europe, where he is involved in the treacherous and unpredictable world of diamond theft and the notorious Panther Mafia. As Donny and his gang plan a huge robbery in the world’s largest diamond exchange in Marseille, Nick will meet with him and propose something to surprise him. Gidegast, who has been planning this sequel since the day after the original film, proves that he has the knowledge and ability of a police action film, with his nervous film, storming rhythms and intrigue, but to a large extent he seems to repeat and follow the clichés of the genre, without being able to give more, which is worth it. Having Michael Mann’s “Intensity” in mind, as in his first film, as the basis of the lead characters, he will stay in half and suffice to combine it with a pot puri of films of the genre. Giving Richard Butler and O’Chi Jackson a meager opportunity to play more than dynamic one-dimensional characters, he ultimately leaves only the fans of the films “revolution, action, chasers, intrigues and twists” – even if everything looks out of the relevant manual. A few words… Veteran officer Big Nick returns to the master’s hunt at the robberies, Donny, located in Europe for a diamond theft plan. The movies are still on: Paddington in Peru (“Paddington in Peru”) The children’s favorite hero returns, this time on an unpredictable journey starting from the Amazon rainforest and ends up in the Peru mountains, through an animated and live action film directed by Dogal Wilson in the solid standards of the previous two films. A full and often fun family adventure, which may not have the freshness of the first film, but retains the British flame and a carefully produced production. The Paddington teddy bear learns that his beloved Aunt Lucy has disappeared from the House for Retired Bears and leaves along with the Brown family for Peru, in order to find her, with a unique clue a mark on a mysterious map. The family ties, diversity and good feelings have their place again in the well written script, while the presence of the faceless cast, with Hugh Bonville, Emily Mortimer, Julie Walters, Jim Broadbent, Olivia Coleman, Antonio Banderas, Mrs.The film (British, American and French production of 2024) is also featured and compiled with the voices of Giannis Tsimitseli, Fotis Petridis, Chrysamantopoulou, Stefania Filiadis, Nikos Katsatos, Nikos Papadopoulos, Elena Delakura, Vassilis Milos Kavoukidis: The Power of Image Documentary treasure for the history of Greek cinema, through the life and work of filmmaker Nikos Kavukidis, a worthy student of the multi-tool Dinos Katsouridis, through testimonies and documents. Kavoukidis, since childhood entered Finos Film, as his father was one of the protagonists of Greek cinema, along with his friend Philopothemenos Finos. Next to Katsouridis, he will learn all the secrets of the cinema (montage and photo address) and from very early on he will become one of the best in his genre and a fan of the patents he found to solve problems. His home became his set and family all the people of cinema, while in his 60 years of course he will become a producer and director. As a director he will sign the notable documentary “Martyria” and “Memory”, valuable documents for modern Greek history, while as director of photography his contribution is enormous in so-called old cinema, but also in the younger one, while highlighting younger colleagues, for whom he always has a good reason to say. The documentary, directed by Menelaos Kirlidis, in his first feature film, is a reminder of how the local film industry was built and of course a touching love letter to Kavukidis and the people of Greek cinema.
“Queer”, “True pain” and three other films from today in cinemas
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