There is hardly any disagreement that a lot of good films have come out in the past year and a half, and that most of the Oscar-nominated films in recent days have been deserving of it, and garnered enough critical attention.
But at the same time, there are other great films that have been completely ignored, despite the unanimous praise of critics. Read also Tom Hanks returns with sci-fi movie in upcoming awards season موسم “The Place” .. A film about the Palestinian house “dazzling” with love threatened with expulsion The Oslo movie.. interviewing the real people behind the political curtain Horror tops cinema revenues, led by the second part of the movie “A Quiet Place”
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Also, Dear Comrades, described by Jessica Kiang as “a delicate, majestic, epic, shimmering surgical presentation of a shameful history of oppression.”
Maggie Lee’s “A Sun” is “a masterpiece that combines empathy and control, through a spiritual story of survival and the search for a path through difficult times.
Painter and Thief
A Norwegian documentary about the Czech painter Barbora Kiselkova and Karl Bertil Nordland who stole two of her most valuable paintings from the Nobel Gallery in Oslo in 2015.
Directed by Benjamin Ray, in 2020, critic Brian Tallerico said about it, “It is clear that everyone who watches it will talk about it, although it is classified as a documentary, you won’t feel it until it ends.”
Transformed into a deep rumination of unexpected friendship, self-destruction, and a creative burst of creativity over the course of an hour and 46 minutes, Ray is able to provide insight into how two people from two different worlds connect, “making us feel as if friendship was an art in itself.” .
The film begins with Kiselkova’s graphic footage, which has a frightening nature, where a dead white bird lies in the tall, dark grass, and then shows footage of the robbery. After Nordland, a drug addict, fully tattooed, with ADHD, a miserable childhood victim, is not afraid to show his feelings, Kiselkova muster up her courage in court and asks him to speak to him, becoming infatuated with him as he justifies his theft of her drawings that he “found her beautiful”. .
When he sits in front of her to draw him, and she asks him where her paintings are, he trembles and starts to cry. Less than 30 minutes after the movie starts, he has an accident that takes him to the hospital, and she helps him with treatment.
Rei portrays, with exceptional skill, the relationship between two acting largely on instinct. A woman reconstructed from the wreckage of an abusive relationship is drawn to the innermost aspects of the human psyche, so when she paints this ex-con, she refuses to see him as a thief, insists on discovering the hidden side of his personality, and a man who has felt misunderstood and stigmatized all his life.
In the end, we find ourselves in front of “a story of friendship stranger than fiction, which produces incredible results,” as critic Peter Debrugg described it.
Dear comrades
A Russian film directed and co-written by Andrei Konchalovsky in 2020, shows over 121 minutes the causes of mass murder, covering everything and strangling it, through “a poignant drama, full of fear and anger,” as critic Peter Bradshaw described, in a stunning revival. In black and white, the massacre that followed protests against price hikes in a Russian city in 1962, which killed nearly 80 people, and became a black hole in the memory of the Russian people.
Lyuda (Yulia Vysotskaya), the central character in the film, is a strong, middle-aged female Communist Party activist with ties to the city’s KGB branch.
Although she was affected by high prices, like the rest of her comrades, she sits in party meetings, to listen to accusations of protesters that they are rioters and must be eliminated, as her position in the party does not allow her to protest. On the other hand, her teenage daughter Svetka (Yulia Borova) is more interested in revolution than food.
When the massacre begins, we see Lyuda crawling under stray bullets in search of her daughter. Despite the siege imposed on the city and mass arrests, she insists with frantic rush to find her, dead or alive, on a horrific journey that combs her soul without weeping or moaning, which made critic Glenn Kenny see in the film “a picture full of paradoxes, about the hardened soul. The shock she suffered.
Sun
“A Sun” is a Taiwanese drama, directed and co-written by Mong Hong Chung, in which he transformed family drama into an epic of survival and the search for solutions in difficult circumstances, over a period of two hours and 36 minutes.
Chung’s intimate drama provided deep lessons, presenting the story of a family that stumbled financially after being devastated by the unexpected tragedy of the epidemic, and had no choice but to struggle for cohesion, despite the dangers surrounding it.
These are the risks that Chung portrays in an opening sequence that is one of the most shockingly designed and memorable in modern cinema, with plots that rock the audience, about sibling rivalry, sibling betrayal, the wrath of the father, and the sacrifice of the mother.
In Peter Debruge’s “One of the Greatest Movies in the World, 2020,” the phrase “Seize the day, make your own path” is repeated as the mantra that the driving instructor, Mr. Chen (Chen Yi Wen) recites to his students, as they determine their destination and focus on their way.
However, neither Chen nor anyone with a life plan could easily determine its course, with the pandemic sweeping the world, and millions losing their jobs, loved ones and mobility. The message becomes, as Maggie Lee says, “that without darkness one cannot see the light.”