“The People”, “The New Boy” and four other films from today in cinemas

Important exits from today Thursday (21.03.2024) across the country with options that will satisfy friends of the big screen. Two excellent films for colonialism, the first “The settlers”, from Chile and the second “The New Boy”, with Kate Blanchett, clearly stand out from the new film seven-day. The films “Minore” by Constantine Koutsoliota, “The Debt of the Executor” are also shown with Michael Keaton, “Kung Fu Panda 4”, the continuation of the well-known franchise animation and “Aspilis”, with Sydney Swini. The Residers Dramatic adventure of the era, Chilean and international co-production of 2023, directed by Felipe Galvez, with Camilo Aradsipia, Benjamin Westfall, Mark Stanley, Alfredo Castro, Michel Guana, Marcello Alonso, Sam Spruel et al. Oscars passed. The blinding headlights were extinguished, as were bright smiles. The red carpets gathered, while the rhinestones, the expensive toilets, and the costumes re-entered the closets. So let us go back to the great cinema and even through Chile and the first-looking Felipe Galvez, who with his “Apothecians” will remind us of the importance of the films, when they, without losing a drop from the film genre they serve, restore historical events of enormous importance and highlight the wounds of humanity that unfortunately remain open – they are forever placed in our memory. Felipe Galvez, a former model, in his directorial debut, with this brutal and creepy dramatic western, with which he will also win the FIPRESCI award, at the last Cannes festival, using unique codes of the great cinema, disrupts the history of his martyr country, to criticize the atrocities of European colonialism. A phenomenon of past centuries, which even today, even though covered, feeds richly certain countries and tyrants many peoples, whose west characterizes them with the contemptuous ‘third world’. And the worst part, the spirit of colonialism, even refined, remains alive and always threatening, especially if we fall into the trap of “passed forgotten”. The highly-focused scenario takes us to Chile, in the late 19th century and in the history of exploitation by the colonization of the Fire Land by European commercial interests and the political establishment of colonial Santiago. A notorious landowner, Spanish Jose Menendez (existent person), a species of Latin American oligarch, who had acquired the land and sheep farming rights, used mercenaries to hunt and slaughter the natives of Patagonia who stood in his way. Among the hired murderers is a former British army soldier, also known as a “red pig”, because he continues to wear the red military tunic and gets excellent in the killing. With him, he’ll still have a murderer, with experience in hunting Indians, but also a mixed tracker. A dark, visually dazzling dramatic western, borrowing eclectic elements of thriller, Galvez’s film serves surprisingly the codes of the species he manages, while he does not lose his commitment to reminding colonial barbarism, which was mixed with the foundations of his country (and by extension to any land the colonialists set foot on) and clearly suggesting that it was this story there was also a lesson in political violence and oppression for the coming years, either in the form of dictatorships, or in the clothing of politicians. Galvez, however, is also distinguished for his economy and content, his meditation, but also the wonderful footage of the desolate land flooded by Harry Alus’ temperate music. However, Galvez’s most important observation concerns the business of twisting history (something Scorsese did with the “Murderers of the Flowered Moon”) when indigenous people are forced to pose for photographs in western clothes, to delete their own special identity and to “collaborate” in a new “voluntary” submission, to white culture… Satisfying and interpretations from the cast, which consistently followed the workers, in detail, designed characters of Galvez, from whom we eagerly await his next work. A few words… In Chile of the late 19th century, three horsemen are hired by a wealthy landowner to mark the perimeter of his extensive property. Soon, however, this administrative mission will turn into a bloody hunt for the natives of the region. The New Boy Season Drama, Australian production of 2023, directed by Warwick Thornton, with Aswan Reid, Kate Blancett, Deborah Melmen, Wayne Blair, and the second film of the week related to colonialism, although in a completely different style and without the dynamics of the “colonials”, but with a special tender look at metaphysical suffering, identity, faith and religion, western culture and love. An era drama, by promising Australian director Warwick Thornton and starring and producing Kate Blancett, who throws away the star’s garment and suffices – and hypocritically – to the humility of a rasos. The idea for the film, shown in Cannes, in the Department One Look and won several distinctions at the Australian national awards, had been in Thornton’s mind for many years now, as the story stems from his own negative experiences he had young at a Catholic boarding school. The two of them – Warrick and Blanchet – re-formed the script, avoiding dramatic exaggerations or sad situations, by mistreatment of children, touching history with a softness, emphasising shades, metaphysical struggles and hitting colonialism without showing negative white characters. History, placed in the early 1940s and while World War II rages, begins when in an isolated monastery, in the depths of Australia, a policeman delivers a small Aboriginal to Sister Eileen, who runs it. Along with other orphan indigenous children, he will provide care, shelter and food. The unruly little, however, refuses to comply and speak, does not follow the rules and stays away from the culture and religion that nuns want to impose. Gradually, she will come close to Sister Eileen, who begins to understand that the strange child, a right savage, is truly special and with special powers. But when the monastery acquires a precious Cross, which has a decisive influence on the boy, Sister Eileen, will begin to doubt the young man and will have to choose between the traditions of her faith and the truth embodied by the boy and the culture of the indigenous people she carries. Thornton, he is not in a hurry to develop the characters and relationship created by his little hero, a brilliant amazing hammini, with supernatural qualities, with nuns and other orphans. Thornton embroiders, emphasising detail, highlights the eerie and beautiful landscapes and open horizons of vast Australia – his own photography address is of unparalleled beauty. With subtle touches of imagination and emphasis on the mysterious environment, but also with small examples of extraordinary humor, the director develops his story negligently, reaching, in some places giving the impression that he is longing for no particular reason, but has his purpose. And it is justified as it leaves room for emotion and hope, without stopping to surprise us even in the most unexpected moments, mainly by highlighting the harm caused by colonialism and Western culture even when he had the best intentions. 11-year-old Aboriginal Aswan Reid is a real revelation, a wonderful devil, who is fascinated with his source gifts, Kate Blancett, once again is flawless, truly outstanding, Deborah Melmen, in the role of the second nun, as are the other first-looking boys who complement the cast. In a remote monastery and boarding school for Aboriginal children, Australia in the 1940s, run by unconventional sister Eileen, a police officer brings an unruly orphan boy. Quickly, Sister Eileen will realize that the child has special powers. When the monastery acquires a precious crucifix, the boy is stunned, while the mysterious power of the little native is perceived as a threat. Minor Comedy of horror and imagination, Greek production of 2023, directed by Konstantinos Koutsoliotas, with Davide Tutsi, Daphne Alexander, Apollo Bola, Nicola Bravo, Stelios Dimopoulos, Study Georgiadis, Giannis Hatzigiannis, Efi Papatheodorou, Makis Papadimitratito and others. Of the rare cases when Greek cinema enters the world of Horror and even with claims, by the inspiration and love of Constantine Koutsoliotas. So, after ten years of the strange film “The Winter”, the Greek director, who operates abroad as a technical visual effects, returns bringing horrible monsters to a picturesque beach of our country and together a cult film of the genre. Koutsouliotas, having gained the experience of the rules governing the b Movies of horror and imagination, which combines them with the black comedy, will also give us some references from the old Greek cinema – even with the passage of Vassilis Kaila, the famous “Vasilakis” of “Loustrakis” and many other melodramas of that time. In a Greek seaside small town, where its eccentric inhabitants meet, a new foreign sailor seeks his missing father, from whom he has only one bouzouki left. The familiar natural setting of the picturesque beach, with people enjoying music and dances, food and company, will be covered by a fog, while the area begins to besieged by terrible beings, attacking people, while others lure them into the sea, through horrible dreams. Another Greek film that has a very nice idea, that of the rebetiko meeting, which once terrorized the noble morals of decent society, with the cosmic horror of Howard Phillips Lavrcraft, but quickly seems to be grumbling, the script showing his apparent weaknesses and the director being forced to film the case with repetitions, stretching too far. Even his satirical disposition, for the wrong and upside down of Greek society, seems to be enclaved in the shallows. However, Koutsoliota’s effort for a film of fantasy and horror, Greek production, must be recognized, as it does not fall short of foreigners, with the terrifying images and nightmares of sekans having their own dynamics and of course offering fun to fans of the genre, The multifaceted cast does not escape from the established, although it is fun to see the bronzer and beloved Efi Papatheodorou turn into a monster… A hot, summer night, on a beach in Greece that is full of people enjoying music, food and dances, a fog covers the area and strange beings besiege the city, attack people, while others lure them into the sea after terrible dreams. “Knox Goes Away” Police thriller, American production of 2023, directed by Michael Keaton, with Michael Keaton, Al Pacino, Marsha Gay Harden, James Mardsen, Suzi Nakamura, John Hugenager et al. Michael Keaton’s return to directing, after fifteen years and the “Silent Executor”, with another thriller, following the form of a neonoir and having the drawing idea, with the hero, a paid killer, suffering from a rare form of dementia. In itself, this idea gives Keaton the right to “play” at many levels, beyond the action and mystery of his history, deepening into the psychology of his “executor”, while talking about a disease that now takes epidemic dimensions. Keaton plays a hired killer, Knox, who begins to realize that something is wrong with his memory. The doctor will tell him that he suffers from a rapidly evolving form of dementia and of course he should withdraw from the “professional”. When his estranged son asks him panicking and bloodless help because as he tells him, he killed the rapist of his minor daughter and all the evidence of the murder is against him. Police are quickly on the tail of the son and Knox will have to delay his memory loss to save him. The film is watched with interest, although the complicated script, directional style and lighting, which refer to noir, is probably not the best approach by Keaton. It seems indecisive in many parts of the film, losing the opportunity to finally make an absurd black comedy, leaving aside the drama and approach of a disease that its spread can hit even a killer for pay. Michael Keaton, who looks particularly bright and fresh, for his role and dark landscape moving, is, as always, good, charming Marsden is satisfactory, Suzie Nakamura enjoyable and Al Pacino, makes a convenience to his friend. A few words. A paid killer diagnosed with a rapidly evolving form of dementia has the opportunity to redeem himself by saving the life of his adult son, with whom they have alienated themselves. The films are still shown: Kung Fu Panda 4 It may be in originality and creativity from the first two films of favorite franchise, but it remains a guaranteed entertainment for our little friends, Dreamworks’ last animation (production 2024). Eight years after his last adventures, Lichoudis bearakos Po returns, directed by Michael Mitchell and Stephanie Stein, wiser and emotional, referring nostalgically but without adding anything new to the glory of the past. Dear Po, master of martial arts, is now invited to take on the role of spiritual leader in the Valley of Peace. Po has no idea how to transfer his knowledge and train his replacement in the place of the Dragon Warrior and as if all this were not enough, she makes her appearance and a cunning witch, a small lizard who has the ability to transform into any creature she desires, in order to conquer the world. The film is shown compiled in Greek. Aspile (“Immaculate”) The familiar horror film parade continues with this, this is the 2024 American production Horror, which will offer several chills and cries of fear and will probably satisfy the fanatics of the genre. Michael Mohon’s film, starring Sydney Sweeney, features all the ingredients and a cared for production, for an hour and a half of agony, although clichés limit any interest. Cecilia, a young nun, sent to serve in a demonized monastery in the Italian province…