120 BPM (BEATS PER MINUTE) (2017)

Directed By: Robin Campillo

Written By: Robin Canpillo & Philippe Mangeot Cinematography: Jeanne Lapoirie

Editor: Robin Campillo, Stephanie Lager & Anita Roth

Cast: Nahuel Perez Biscayart, Arnaud Valois, Felix Maritaud, Adele Haenel, Ariel Borebstein, Antoine Reinartz, Aloise Sauvage 

The early 1990s. With AIDS having already claimed countless lives for nearly ten years, Act up-Paris activists multiply actions to fight general indifference. Nathan, a newcomer to the group, has his world shaken up by Sean, a radical militant, who throws his last bits of strength into the struggle.


This film presents a Strong subject and story based on historical facts. As we learn about the early efforts of ACT-UP and what they were facing off against. At least the french chapter. That was similar to the US chapters efforts 

This film feels like a miniseries done in two hours. It is a very trying and powerful movie. That is as much a drama, as a history lesson in itself told more from the radicals Point of view. Rather than a white-washed film where they make the owners that be the heroes.

The film shows that if not for the efforts of the LGBTQ community at the time. The progress for national attention and treatment would have been slower if ever even developed.

This is more than just a movie about the subject or a disease Movie. The narrative here is more of an ensemble but it is also strong.

The film is designed more as a docudrama without so much handheld camera work, but still, you feel like a Participant and witness. As we see the movement from the inside out. As well as slowly get to know abs see the personal lives of the characters. Which allows the film to be more intimate.

The film focuses on a relationship more or less and its development. That is connected to the modern era of the group in various ways. While also showing us the evolution of the group. That helps us in the audience connect to the characters. Through this process, the film reveals events and situations dramatically and still manages to be shocking at times with its revelations.

So much material and information to cover here that it feels like a dramatized documentary that gets more personal. As some of the characters, we get to know each other deeper and stand out. Even as each character is important in their own way as part of the coalition.

This is just one of those films you can lose yourself in and by the end or realize how much time has passed but definitely feel like you have been through a journey. As this is a film mroe of experience where you feel like a fly in the wall. As the film takes over.

You just watch as it tells it’s take abd unfolds a large story like a book.

As all around the filmmmaking and cast are great not a weak link . No one drops the ball. As the film and tale are emotionally penetrating and the characters are portrayed as callable and not saints.

It’s one of these perfect movies into a culture and history one was not formed upon. Like the French film THE CLASS by Laurent Cantet only that was like this film a look into a social issue and the characters involved that offers no answers. Only this tale is based more on fact and events that actually happens

This is a film that has to be seen. As it dreams you in and offers you education and an experience. 

Grade: A

GOING TO BRAZIL (2016)


Directed By: Patrick Mille
Written By: Patrick Mille, Julien Lambroschini & Sabrina Amara
Cinematography: Andre Szenkowski
Editor: Samuel Dansei

Cast: Vanessa Guide, Alison Wheeler, Margot Bancilhon, Philippine Stindel, Patrick Mille, Christine Citti, Susana Pires, Chico Diaz, Joseph Makebra 

Four childhood friends reunite for a wedding in Rio, only to find themselves on the run through the Brazilian countryside after accidentally killing someone at a drug-fueled party.


The film feels very 1980s inspired. As the plot feels high concept and simple. As it takes a GIRL’S NIGHT type story and takes it further and more action-oriented.

It even feels directed like an interaction action film from the 1980s. So that you always feel a bit of nostalgia. If you are a fan of films from the decade. 

The film offers a kind of girl’s gone wild scenario. As the characters deal with being on vacation in Brazil for a friend’s wedding and their lives not going too well. So they decide to show e fun no wild out. Which eventually leads to trouble. The film presents deals with them trying to stay out of trouble as more complications are presented.

Even though the film sounds like it would more be  T & A fest. It is more for female viewers. As most of the male characters are stupid, evil and manipulative.

The film sets up an older male villain. Whose motives are understandable partially. As he is only reacting to the death of a loved one. One who ended up being reprehensible. Showing that the Apple doesn’t fall far from The tree.

The film plays so broad but then reins in some scenes that want to be more dramatic or character building. 

The film certainly switches tones as it begins like a screwball comedy and then becomes more hardcore at first serious then action but tries to keep a sense of humor through it all. Leaving the film to be inventive and thankfully fast-paced.

In trying to stay out of trouble they are lead into all sorts of criminal activity and hijinks that eventually allows them to have a full-fledged adventure. That stays on the move and exposes a silly and unexpected side. 

Even if the last-minute hardcore action seems a bit much. 

The four leads all play types more than characters but all are needed for their particular skills that help along the way and they all have their own appeal. 

The more darker-skinned characters are shown more as villains, tough and dangerous. It doesn’t seem intended that way but still comes off that way and noticeable. 

The film offers an interesting tale of a girl’s vacation in its own way.

The film unfortunately might be entertaining as you watch it but by the end feels forgettable. 

GRADE: C-

2 OR 3 THINGS I KNOW ABOUT HER (1967)

Directed by: Jean-Luc Godard
Written by Jean-Luc Godard & Catherine Vimenet
Cinematography: Raoul Coutard
Editor: Francoise Collin & Chantal Delattre

Cast: Marina Vlady, Anne Duperey, Roger Montsorat, Raoul levy, Jean Narboni 

In this film, ‘Her’ refers to both Paris, the character of Juliette Janson, and the actress playing her, Marina Vlady. The film is a kind of dramatized documentary, illustrating and exaggerating the emotionless lives of characters in the new Paris of the 60s, where commercialism mocks families getting by on small incomes, where prostitution is a moneyspinning option, and where people are coldly resigned and immune to the human nightmares of Vietnam, and impending Atomic war.


When it comes to the films of Writer-Director Jean Luc Godard you never know what you are going to get. Sometimes you get absolute masterpieces at other times you get films you respect but might not love and then you get his more experimental films that can go either way. Sort of what it seems like Modern director Steven Soderbergh attempts.

Though both of their films can be off-putting for certain audiences. It might feel like most of those cinema comes off as pretentious.

This is one of the later films. Where he fills the film with beautiful women who keep your interest especially in close-ups but then the rest of the film is pretty much philosophical notions and existential discussions that become quite boring and superficial.

Where the genius lies is that he puts all of these speeches and interviews. While following certain characters. So that we examine their day-to-day experiences and living conditions. Then inserts the interviews and discussion. As well as his own whispered narrations asking us to question what we see and ponder them in different ways.

This is pretty much an experimental film all around. At times we see the characters off the wall characteristics. Like reading randomly from a stack of books while a friend writes down what they are quoting. Or a photojournalist dressed in an American flag t-shirt interviewing two women he has paid to undress in front of him while he asks questions and boats of his adventures. 

All of this is indebted to the politics at the time. Which instantly dates the film and radicalizes it to a degree. While trying to add cinematic tricks and observation. That it comes off more like a lesson than an experience.

As even at times the director seems to interview people off the street who we never see. Where the footage becomes a scattershot. Other than showing constant construction.

Which we never see what came before or after.

It/‘a a film that is full of ideas and its heart seeks to be in the right place but to a degree feels empty. Where emotions should be.

The film seems to try and show it’s Characters are used to their lives. So they have no reason to emote or seem like they are seeking to strive or escape. They just deal with the everyday. 

Even with a title that seems like the film will focus on the lead female.  As we try to get to know her and become obsessed with her. Showing her in all her glory. Instead, she is just part of the overall who we occasionally see. Though she is the most constant. 

The film or filmmaker wants us to know certain things about her but also expose her to the audience in all aspects. So that while we might fall for her we also know her. So that here is some kind of relatability but the end. Even if it just feels like a movie of expression wanting to say something yet cramming as much different stuff that connects into the tale and trying to decipher it all. 

Grade: C+

DHEEPAN (2015)

Directed By: Jacques Audiard 
Written By: Jacques Audiard, Thomas Bidegain & Noe Debre 
Cinematography By: Eponine Momenceau 
Editor: Juliette Welfling 

Cast: Jesuthasan Antonythasan, Kalieaswari Srinivasan, Claudine Vinasithamby, Vincent Rottiers
Marc Zinga Dheepan is a Tamil freedom fighter, a Tiger. In Sri Lanka, the Civil War is reaching its end, and defeat is near. Dheepan decides to flee, taking with him two strangers – a woman and a little girl – hoping that they will make it easier for him to claim asylum in Europe. Arriving in Paris, the ‘family’ moves from one temporary home to another until Dheepan finds work as the caretaker of a run-down housing block in the suburbs. He works to build a new life and a real home for his ‘wife’ and his ‘daughter’, but the daily violence he confronts quickly reopens his war wounds, and Dheepan is forced to reconnect with his warrior’s instincts to protect the people he hopes will become his true family. 


The first French film shot nearly entirely in the Tamil language. In fact The first film in Tamil language and with Tamil lead actors to win the Palme d’Or.

The film involves a former soldier is suffering from PTSD. Tries to start over with a new identity and a fake family.

Not as violent or action-packed as once thought and advertised. As mostly there are scenes of action but we see it mainly from his point of view and more towards the end. Even though throughout the film the characters are surrounded by dangerous characters and hear stories of violence in their new home and the one they are coming from.

As the film moves along it becomes a slow-burning vigilante tale with heart. As it seems here thankfully the film considers the characters first and the action is secondary.

Once the action starts what a glorious sequence it is. The film is full of vivid handheld camera work which makes some scenes more dramatic than one would think.

The film focuses on him and his makeshift wife mostly. Their relationship and how it actually blossoms purely out of survival at first then slowly becomes affectionate. While they also raise an orphan girl who is more in the background and used more to help them get sympathy but is the chain that binds them together. As they have escaped war-torn Sri Lanka only to move into and work in a gang filled Parisian housing development (projects)

She slowly gets close to the son of the elderly man she takes care of, the son is a gang leader who is under house arrest. So that she is constantly in the middle of the current war going on in the streets. 

Everything goes good until the third act with the reemergence of an old general who has lost it. He seems to have cursed them as old nightmares come to the forefront in the new form of continuous random violence until DHEEPAN decides to take a stand. As he couldn’t before, forming a peace block.

The film is pretty straight forward which is why it might seem like I am just telling the plot and scenes. Just as with his precious film director Jacques Audiard has us with the characters every step of the way. Right up in their faces.

The film is an immigrant story that doesn’t solely focus on being in a new country and trying to assimilate more dealing with the troubled past of the characters as they try to settle. Starting a new life when virtually everything is new and different. Especially as most of the leading cast had never acted in a film before. So it gives the film unmannered performances that make it feel all the more natural and real.

It’s the anti – BROOKLYN movie (which is a romantic tale of an Irish immigrant in New York on the 1950s)

Not much happens but much is felt though at times the film seems to try to hide it’s hand. Even as one thing really particularly shocking happens in the film.

After his more provocative films. He plays this one pretty straight other than turning the camera in characters and cultures usually not seen on the big screen.

Happy for the ending as it is rare for these types of tales to end positively and with promise. They always seem to be downtrodden, sacrificial, or compromised.

Grade: B+

THE WORLD IS YOURS (2018)

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Directed By: Romain Gavras
Written By: Romain Gavras, Noe Debre & Karim Boukercha
Cinematography: Andre Chemetoff
Editor: Benjamin Weill
Music By: Jamie XX & SebastiAn

Cast: Karim Leklou, Oulaya Amamra, Isabelle Adjani, Vincent Cassel, Sam Spruell, Gabby Rose, Ladj Ly

A small-time dealer dreams of another life but can’t afford it. To escape, he must accept one last job involving Spain, drugs, the Illuminati and his overbearing mother.

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THE GIRL ON THE TRAIN (LA FILLE DU RER) (2009)

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Directed By: Andre Techine
Written By: Andre Techine, Odile Banski, & Jean Maire-Besset
Based on a play By: Jean Maire-Besset
Cinematography By: Julien Hirsch
Editor: Martine Giordano

CAST: Emille Dequenne, Michel Blanc, Catherine Denueve

A drama centered on a young woman who claims she was the target of an anti-Semetic attack and the subsequent media sensation it creates.

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I LOST MY BODY (2019)

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Directed By: Jeremy Clapin
Written By: Jeremy Clapin & Guillaume Laurent
Based On The Novel By: Guillaume Laurent
Cinematography: Benjamin Massoubre 


Cast: (Voices) FRENCH VERSION – Hakim Faris, Victoire Du Bois, Patrick D’Assumcao, Bellamine Abdelmalek, Nicole Favart. 


AMERICAN VERSION – Dev Patel, Alia Shawkat, George Wendt, Johnny Mars, Jaarod Pistill 

A story of Naoufel, a young man who is in love with Gabrielle. In another part of town, a severed hand escapes from a dissection lab, determined to find its body again. Continue reading “I LOST MY BODY (2019)”

MICMACS (2010)

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Directed By: Jean-Pierre Jenut
Written By: Jean-Pierre Jenut & Guillaume Laurant
Cinematography By: Tetsuo Nagata
Editor: Herve Schneid

Cast: Danny Boon, Julie Ferrier, Dominique Pinon

Avid movie-watcher and video store clerk Bazil has had his life all but ruined by weapons of war. His father was killed by a landmine in Morocco and one fateful night a stray bullet from a nearby shootout embeds itself in his skull, leaving him on the verge of instantaneous death. Losing his job and his home, Bazil wanders the streets until he meets Slammer, a pardoned convict who introduces him to a band of eccentric junkyard dealers including Calculator, a math expert and statistician, Buster, a record-holder in human cannonball feats, Tiny Pete, an artistic craftsman of automatons, and Elastic Girl, a sassy contortionist. When chance reveals to Bazil the two weapons manufacturers responsible for building the instruments of his destruction, he constructs a complex scheme for revenge that his newfound family is all too happy to help set in motion.

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SHALL WE KISS? (2007)

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Written & Directed By: Emmanuel Mouret
Cinematography: Laurent Desmet
Editor: Martial Salomon

Cast: Emmanuel Mouret, Virgine Ledoyen, Julie Gayet, Michael Cohen, Frederique Bel, Stefano Accorsi

When Gabriel and Emilie meet by chance, he offers her a ride, and they spend the evening talking, laughing and getting along famously. At the end of the night, Emilie declines Gabriel’s offer of “a kiss without consequences”. Emilie admonishes him that the kiss could have unexpected consequences, and tells him a story, unfolding in flashbacks, about the impossibility of indulging your desires without affecting someone else’s life.

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HALL OF FAME: FILE #0062: 13 TZAMETI (2005)

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Written & Directed By: Gela Babluani
Cinematography By: Tariel Meliava
Editor: Noemie Moreau 


Cast: George Babluani, Aurelien Recoing, Pascal Bongard, Vania Vilers 

Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men.

Continue reading “HALL OF FAME: FILE #0062: 13 TZAMETI (2005)”