Tag: International

FIRST LOVE (2019)

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Directed By: Takashi Miike
Written By: Masa Nakamura 
Cinematography: Nobuyasu Kita
Editor: Akira Kamiya 

Cast: Masataka Kubota, Sakurako Konishi, Shota Sometani, Jun Murakami, Masayuki Deai, Cheng-Kuo Yen 

Leo is a young boxer, successful but unable to show emotion. He has a fight scheduled and is sure that he will win. Instead, his opponent knocks him out. This triggers a chain of unpleasant events involving drugs, corrupt cops, the Yakuza, a female assassin – and Monica, an escort that he must rescue. It’s one hell of a night for Leo.

The film is brutal in its Violence at times but what else would you expect from director Takashi Miike. Though it similarly stays silly and fun. It also keeps an emotional connection. 

This is a film that will feel immediately familiar but tries to be different in the details. As this isn’t lovers on the run but two characters with nothing to lose on the run. Who seem to fall for one another while on the run and trying to survive. 

Throughout the film, you will be able to identify what inspired the movie, characters, and scenes.

The male is More motivated and driven as the only reason he goes out of his way for her. Is that he believes he is dying. 

For the female character, the boxer is The first instance or ideal of the perfect person who did something above and beyond then for them and not fully realizing or taking time to see who the person truly is. 

Some people experience this. When they experience it fully with knowing a person. All around can be rewarding rather than just connecting for a moment.

Though strangely the couple is the least interesting part of the characters. As they are pawns In a larger story but needed to advance the story. Is more of a crime Story involving two different mobs who end up in a war over a stolen shipment set up by a dirty cop and inserting 

Each monster fang either tries to double-cross or is out for vengeance. Though each of them, also seems to have its ridiculous quirks.

The film offers some well-contained action sequences and constantly involves misunderstandings and double-crosses that leave you wondering who is out for who half the time. 

The problem here is that as the tale goes on it builds momentum and smartly to a degree doesn’t keep building and putting out its Scenes slightly distanced. So it gives characters time to breathe before the next crazy scene instead of overloading and best one after another.

The drug deal subplot and mobsters do remind the viewer of the movie TRUE ROMANCE. But other than the simpler coincidences this tale goes its own way. As this film has a bit more humor.

Though the main characters are interesting in their reasoning and characters. Including one a drug addict who is beloved, she is haunted by her father who is always in his underwear. It’s the supporting characters who

Are more interesting and keeps the film interesting and on its toes.

Grade: B

THE COLUMNIST (2019)

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Directed By: Ivo Van Aart 
Written By: Daan Windhorst
Cinematography: Martijn Cousijn 
Editor: Irme Reutelingsperger & Yamal Stitiou 

Cast: Katja Herbers, Achraf Koutet, Genio De Groot, Rein Hoffman, Claire Porro, Bram Van Der Kelen, Medina Schuurman, Harry Van Ritjthourn 

A columnist must continuously deal with threats and negative comments on her social media pages. One day, she has had enough and decides to hunt down her trolls.

The film wastes no time in getting right to the point and its actions. The film ends up going down like candy-sweet and quickly with very few complaints. 

The film comes off very dry and seems to have no real sensations at all throughout the film. Especially when it comes to presentation.

Feels very lightweight for such a dark comedy. Almost like a TV movie level. Only with plenty of language and violence.

It might have been stronger if at any point she really has faced a true challenge or more of one in her killings or the immediate aftermath. 

The only other being she seems to face is the older gentleman who at first seems like he could be the easiest.

As she became too common too fast and with very little investigation into these Crimes. So there feels like an absence of any real depth. Especially when the film offers opportunities for it to be more interesting. Like having the daughter act impulsively when thinking her mother’s boyfriend is the killer or having her kill him when believing him to be the killer. Then found out she was wrong when the kills keep happening and then finding out it was her mother or ending the film with the daughter’s Mistake.

In the middle of the movie is the only town where the police really have any questions and she gives them motive and a bit of evidence to build a case if they bothered to really investigate her. 

The killings soon become an obsession. So much so that it takes over her regular responsibilities. Truly shows her character’s transformation. The more she kills the more it relieves her mind as it clears her head and gets more writing done. In essence, becoming more successful.

As it seems she is all for freedom of speech until it is used against her then she becomes the ultimate censor. At first, she is bullied into being a killer. 

Though without controversy there is less of an audience. The end is a little outlandish as it seems meant to be a message. As the film does have one in a worst-case scenario version. That could be reworked but makes itself loud and clear. 

At first, it seems Like it will be open-ended but proceeds especially as there are plenty of witnesses though goes for shock and sensationalism with a warning. 

Her speech might help her and the film to realize what she says about herself goes to the victims also. 

Just her boyfriend who dresses freaky to get attention as fashion is the more normal put-together individual. Whereas she comes off as the more so-called normal one is the crazed killer.

In the end, the film feels disposable and hassle-free.

Grade: C+

NOTHING BAD CAN HAPPEN (2013)

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Written & Directed By: Katrin Gebbe
Cinematography: Moritz Schultbieb
Editor: Heike Gnida 

Cast: Julius Feldmeier, Sascha Alexander Gersak, Annika Kuhl, Gro Swantje Kohljof, Daniel Michael

The young Tore seeks in Hamburg a new life among the religious group called The Jesus Freaks. When he by accident meets a family and helps them to repair their car, he believes that a heavenly wonder has helped him. He starts a friendship with the father of the family, Benno. Soon he moves in with them at their garden plot, not knowing what cruelty is there to come. True to his religious belief he stays with them although the increasing violence by Benno is torturing him. Tore is fighting the torment with his own weapons. So a dangerous struggle between libidinous actions and altruism begins. Inspired by true events.

This is a film that took me by surprise. I only heard about it recently.

This is a horror tale that sneaks up on you in the worst way, in plain sight. As it seems like a drama at first. As it isn’t a horror film Filled with slashers or any supernatural evil.

It all boils down to being a movie about faith about a character who has an unwavering faith and no matter how bad things get beloved he is being tested for a higher purpose. He encounters a man who is a sociopath and just so filled with hate and evil that he makes it his mission to try and get him to stop believing and take out His anger on him whenever frustrated.

Even if he hadn’t encountered this teenager the sociopath would bring those around him down and finding these victims might have saved others from his terror.

The Second half of this movie is brutal and upsetting. So that once the film is over you feel dirty or somehow stained from the experience.

The teenage character believes he has to accept these punishments. To save others. So they are safe but by witnessing it hopefully, they will finally be brave and strong enough to run away. As the family seems to stay with him out of survivor’s syndrome. Some prove to be just as evil as accomplices who just need a bit of a push or to be led into that behavior. The teen sees the main character as a challenge eventually instead of being afraid and realizing how disturbed this guy is.

It also doesn’t help that the sociopath is obviously jealous of the teen in a few ways. Especially when it comes to his teenage daughter. 

He sells to prove him wrong. As the teen stays true to his faith and religious convictions that ultimately he seems he can never defeat. Even as he seems hell-bent on trying to punish him for his beliefs. Truly showing strength of conviction. Leading the movie to some dark and disturbing places.

What is upsetting about this film is that it is supposedly based on a true story and also it’s a. Martyr tale that is upsetting as there is no comeuppance. So no sense of justice and no emotional or tension release. 

What is scary is the terror through the movie is so matter of fact. That sets the tone. As there is nothing necessarily heightened. It is all in plain sight. Little by little, we can tell something isn’t right. It stays believable

The wife tries to say that nothing has been right since the teen got there. Though things seemed already a bit off. The addition of him only adds an adversary for him to lord over and make a slave maybe just for his faith or showing him up in a brief random meeting in the begging getting his car to work. 

Though at times the cruelty comes out of nowhere like selling him off, if only for extra income. It infuriates the audience when he has a chance to escape but see’s all of this as his mission. 

It’s filmed more like a docudrama, though it can feel like torture porn. To get there seems to be a point to it all. 

The acting is spot on and believable. No performance rings false. 

There is some hope at the end but only born out of tragedy. As all around are made into an accessory. Very disturbing. This plays like a Michael Haneke Film that tries to mix with a Lars von Trier movie, but those films can come off as natural. This seems cruel to be cruel. Sadistic and just when you think there will be somebody to save him or some hope. It shows how cruel that world and environment are.

Grade: B

THE HAND OF GOD (2021)

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Written & Directed By: Pablo Sorrentino 
Cinematography: Daria D’Antonio 
Editor: Cristiano Travaglioli 

Cast: Filippo Scotti, Toni Servillo, Teresa Saponagelo, Luisa Ranieli, Marlon Joubert, Renato Carpentier, Massimiliano Gallo, Betty Pedrazzi 

Fabietto Schisa is a boy in the tumultuous Naples of the 1980s. The Hand of God is a story full of unexpected joys, such as the arrival of football legend Diego Maradona, and an equally unexpected tragedy. Fate plays its part, joy and tragedy intertwine, and Fabietto’s future is set in motion.

This film is oddly restrained considering it is directed by Paolo Sorrentino. Whose films always lean on beautiful visuals, characters, and landscapes and usually showcase a surreal reality as well as feeling more epic in scope.

This film is autobiographical so that it feels more personal and with more depth. Not so much an ensemble but we do see the world of Neapolitan Italy through the eyes of our teenage protagonist. Though we spend a lot of time with his family and the characters he comes across. Who each affects and shape his life in some way

Some are more obvious and immediate, others we get glimpses of and then learn about them later but never quite forget them. As each has some kind of advice for the main character.

All of this is happening while in the background soccer player Maradona is bright onto Italy’s Team and is helping them win the World Cup. So Much so that the main characters’ activities are scheduled around seeing the games. 

As he interacts with his family we see plenty of domestic drama. Though throughout there is a love story but it is more between the protagonist and his aunt. Who has a mental illness or is treated like she has and wears provocative clothing and has no problem being naked whenever. Not exactly your typical movie romance. 

Though she is shown more as as a muse for him of free-thinking, humor, sex, and beauty and Luisa Ranieri playing aunt Patrica fills out the role beautifully. As the camera manages to make her look gorgeous no matter what the angle or lighting. Throughout the movie, there are female characters of great beauty who are treated as normal or every day.

The movie also managed to be one of the few films about filmmaking or future filmmakers that basically barely has any movies or talk of them in it. There is no film appreciation, though there is talk of Fellini, a filmmaker who Sorrentino can remind one of in telling personal stories in a grand way that always feels colorful.

This film doesn’t really follow a traditional plot or story and is more a collection of anecdotes and events that shape the character and give a vivid history and view of his hometown in the 1980s. Not as quirky as one might expect as there is nothing that truly stands out. 

Though by the end you are glad you watched and experienced the film that plays and feels more like a book by the end. Only here not everything is spelled out. It is more experienced, witnessed, and felt.

This is also a film best viewed in a theater or on the biggest screen you can find. 

Grade: B-

TALK TO HER (2002)

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Written & Directed By: Pedro Almodovar 
Cinematography: Javier Aguirresarobe
Editor: Jose Salcedo

Cast: Javier Camara, David Grandinetti, Leonor Watling, Rosario Flores, Mariola Fuentes, Geraldine Chaplin

After a chance encounter at a theater, two men, Benigno and Marco, meet at a private clinic where Benigno works. Lydia, Marco’s girlfriend and a bullfighter by profession, has been gored and is in a coma. It so happens that Benigno is looking after another woman in a coma, Alicia, a young ballet student. The lives of the four characters will flow in all directions, past, present and future, dragging all of them towards an unsuspected destiny.

When it comes to Director Pedro Almodovar, With certain films his attention to detail is mesmerizing by even just the appreciation to women their style dress mannerisms and femininity is fascinating and he pulls us in 

Especially for a filmmaker who has always been artistic but also an early provocateur looking more to shock it seems Maybe now,  we Just pay more attention to every aspect of his filmmaking. Such as Melodrama, sense of color and suspense

As he seems to base his later films around stories and the works of noted authors he is a fan of, trying to match the depth and tone of their work.

Which might be why this film feels like reading a book. Introductions are made for our main characters but we really don’t know their situations, emotions, motivations or history until the film. Keeps moving and chooses to make the revelations of the twisted stories and personal histories. 

As things aren’t always as they seem. It feels like watching Two love stories that are parallel, but then come together. Though it could also be seen by the end. As before , that leads to the worthwhile love story of two damaged people brought together.

As one character stays a victim throughout. As she is more an object of fascination and infatuation. A kind of ideal, who is violated without her knowledge or permission. Then in the end. Looks to get into a romance with someone involved with her attacker of sorts.

It’s a film that challenges you. As the audience might not like or agree with the ending. As one romance is cut short though has time to blossom, yet find out it was ending. The other romance never truly existed. As it had a promising start until extreme acts ended it before it could truly start.

As the character of Benigno could be seen as hopeless romantic, but is more a stalker. Who gets his chance to be near his obsession. Ultimately being devoted to her care and taking care of her, but also getting to be physically intimate with her. Which he never treats as sexual or abused in that way at first. In fact he seems asexual sexually as though he loves her. He seems attracted and flirtatious with Marco in their friendship. 

It would seem he lives up to the ultimate title of caregiver. He also seems to idolize women as when he first falls for Alicia, it is while he is taking care of his own dying mom and it seems once she is gone. Out of loneliness his care and loving feelings are transferred to Alicia. just as he is devoted to her in the hospital, but opens up and shows feelings for Alicia even as his co-worker obviously likes him but he stays blind to it.

In fact until he is inspired by a silent movie (in a shocking and visually stunning scene) he never gets sexual. The one time he does in a selfish and undefendable act, is when he is finally punished. Throughout the movie we never really see sex, but it is introduced and we are thrown in The emotional pull of it. 

Where it gets more troubled is that this act actually brings upon a kind of miracle… a cure. Where he suffers and deserves to for her recovery and it feels like a minor religious allegory of it all. It also causes a salvation for his friend Marco

Throughout the film there are artistic touches that only add color to the characters and situations. In the end what should be simple is so haywire emotionally, but has beautiful conclusions. Albeit dark and in moments that feel sumptuous.

Even in the bullfighting sequences more the alpha but most emotional of the couple. She always feels more in control. As physically stronger and masculine yet always needing to be saved and supported in life.

It feels like we are watching lives with a bit of serendipity, not a movie or a story. Yet we are still showcased the more interesting parts 

Oddly this film is exactly what I thought it would be but still amazing. As it unfolds like a novel and feels nurturing and strangely full. Even though at heart it is disturbing if you think deep about it. it is also romantic

Grade: B+

WHEN THE CAT’S AWAY (aka CHACUN CHERCHE SON CHA) (1996)

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Written & Directed By: Cedric Klapisch 
Cinematography: Benoit Delhomme 
Editor: Francine Sandberg 

Cast: Garance Clavel, Zinedine Soualem, Olivier Py, Renee Le Calm, Simon Abkarian 

Chloe, a young woman, is going on holiday. She entrusts her beloved cat to Madame Renée’s care. But one day Madame Renée (an old lady of the neighborhood) can not find the cat. Chloe starts searching the neighborhood… This is the pretext for the exploration of a quarter of Paris and his inhabitants.

A French film that starts with a simple premise of a young woman looking for her missing cat. That ends up leading to a bunch of adventures and experiences that usually involve some kind of romantic entanglement

This is the first film of French writer director Cedric Klapisch that I saw that perfectly sets up his usual bohemian style. His films work more as ensemble pieces with a main character in the middle. Who this story usually either revolves around or is at the center and cause for situations

As the movie goes on this is really a film about the neighborhood and its citizens more a kind of anthropology study to a degree. As we watch how they work like a well-oiled machine. With one another. While also watching how their quirkiness helps to guide and make connections for the main female character In The middle of all of this.

The film is eclectic and colorful and mostly fun than anything else, not Too dramatic. Yet at times romantic and showcasing how easily we can read into things and believe people at their words a little too soon before they have proven themselves.

This is a French film that was perfect for the time period and comes off as a quirky French film where you want to be in the movie or move into this neighborhood. As it is a classic neighborhood with more younger people moving in and experiencing it’s the charm. So that it feels like that French getaway you might have always wanted to experience in your 20’s so you would get the modern and old school In Equal measure. as you get an insider look at all around France and the different neighborhoods or districts as they prefer to call them

Though the film doesn’t really have too much to do with the story or plot. As you more or less follow Chloe, the main character on her journey, and get to feel or at least witness her experiences. So the film is kind of free form in a way without being experimental. As for all of its freedom, there still feels like there is structure here.

If you have seen his later films THE SPANISH APARTMENT, RUSSIAN DOLLS and CHINESE PUZZLE 

This will be a little familiar but allows you to see where it all started at least In theme. Though they are constructed they manage to surprise you and add color to the films through the characters. Who we get to know a bit about and get to spend a little time with. As they only add to the enjoyment of the picture.

GRADE: B

SEOUL SEARCHING (2015)

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Written & Directed By: Benson Lee Cinematography: Daniel Katz Editor: Steve M. Choe

Cast: Justin Chon, Jessika Van, In-Pyo Cha, Teo Yoo, Esteban Ahn, Rosalina Leigh, Albert Kong, Hee Jun Han, Crystal Kay, Nekhebet Kum Juch 

During the 1980s, the Korean government created a special summer camp for “gyopo” or foreign-born teenagers where they could spend their summer in Seoul to learn about their motherland. While the intentions of the program were honorable, the activities of the teens were not. The program was eventually canceled after a few years because the government simply could not control the youth. Seoul Searching is a teen comedy and coming of age film, based on a true story about one of the summer camps that took place in 1986.

While this is a fun nostalgic coming-of-age movie exploring the usual themes of finding oneself and their own identities. While growing up. This film is also about culture and trying to find it. As you are misplaced. As first-generation Americans coming to grips with your heritage and history. While managing to be both.

The film would be admirable if it could have stayed on that path and for the most part it does m. As a kind of John Hughes homage as most of the characters learn something and prove to be more than the cultural identities they came with.

Most characters seem lost between their American-style selves and who they are supposed to be back in their home countries. 

Then the film runs into a similar problem John Hughes was called on later in His career. Having little to no minorities in his films and the few he did playing into stereotypes and caricatures in his films. Notoriously long duk dong in SIXTEEN CANDLES and just like that film this one would have been near perfect if not for some unfortunate stereotyping. 

This is interesting considering that this is a film that is about a foreign culture but liberally uses the n-word and other derogatory names for dark-skinned characters and a group of characters who have chosen to identify with rappers and hip hop. Who is more played for laughs.

As the film is set in the 1980s some of the defense might be. Oh it was a different time, but still, the one mixed character not only barely gets any screen time but when she does she is treated at first as beautiful than as a bitch and disposable. 

The rapper wannabes are the ones mostly using the n-word, but their characters are treated as buffoons and comic relief. They are the few characters who get no dramatic epiphany and are gone before they can wear out their welcome. Meanwhile, the sexist, Racist good ole boy character who uses mostly racially charged derogatory terms amongst other bad behavior gets a chance to explain himself and get the audience to have sympathy for him. Which still runs the audience the wrong way. If not for that this film could be a total success, instead of wallowing in The same problems as the films that inspired it. 

As it has an original cultural story. An ensemble cast who each get character arcs and times to shine. Romance and even a mentor figure in their chaperone and teacher who has his own dark secrets and a drinking problem. 

It’s a worthwhile film if not for some dark clouds around it. As it does expose the audience to the culture and price of history they might not have known and gives a lesson for teenagers and foreign characters to identify with.

GRADE: B-

BLOOD RED SKY (2021)

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Directed By: Peter Thorwarth  Written By: Peter Thorwarth & Stefan Holtz  Cinematography: Yoshi Heimrath  Editor: Knut Hake 

Cast: Peri Baumeister, Dominic Purcell, Carl Koch, Alexander Scheer, Kai Ivo Baulitz, Kai Setti, Roland Moller, Gordon Brown 

A woman with a mysterious illness is forced into action when a group of terrorists attempts to hijack a transatlantic overnight flight.

This film becomes entertaining throughout because it starts with what could have been a ridiculous yet simple plot of a vampire versus terrorists and keeps twisting the tale so that there are new challenges to keep you interested. Luckily the film Stays pretty dark and not cookie-cutter or some kind of superhero flick.

If anything it refreshingly uses vampire lore and manages to give us something unexpected with it.

The film is filled with action and horror. While it feels a bit long. You are never quite bored of anything. It shocks with taking out a character you expected to last longer and be the biggest foe. Instead the true villain is the live wire of the terrorists. He kind of displays his worst behavior early on before being neutered a bit but then coming back strong.

This story could have easily been a supernatural DIE HARD and instead actually comes through with an identity of its own. Though with just as much action and complications. Though this film is definitely more gory with less humor along the way. 

Smart in a Way as the film uses perceived prejudice to its advantage in certain situations and though the terrorists are bad one character proves to be the evilest as he is the catalyst later for all the horribleness that happens to the passengers. 

The film does offer a heroic character in a Muslim Passenger who always at least tries to do the right and most moral thing.

While at times it feels ridiculous the film does manage to keep you invested. 

In The end it does emphasize a mother’s love for her child. While not making the vampire immortal or barely have any weaknesses. 

GRADE: C+

SYSTEM CRASHER (2019)

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Written & Directed By: Nora Fingscheidt
Cinematography: Yunus Roy Imer
Editor: Stephan Bechinger & Julia Kovalenko

Cast: Helena Zengel, Albrecht Schuch, Gabriela Maria Schmeide, Lisa Hagmeister, Melanie Straub, Maryam Zaree 

She is small but dangerous. Wherever Benni ends up, she is immediately expelled. The wild 9-year-old girl has already become what child protection services call a “system crasher”. And she is certainly not looking to change her ways. Because Benni has one single goal: to be back at home with her mommy. But Bianca is scared of her own daughter. Mrs. Bafané from child protection services is trying her best to find a permanent placement for Benni. She hires the anger management trainer Micha as Benni’s school escort and suddenly there is a seed of hope. Will Micha be able to succeed where all others despaired?

At first, wasn’t sure what to expect from this film. Seems basic at first watching a girl go through the Foster care system, but she is particularly violent and disruptive.

The film soon starts to show its hand with a character new to the case and situation. Who is tough yet caring but like the main character can’t seem to save her from herself. Even as he continuously tries and makes progress. 

When it comes to this film what is so heartbreaking is that every time it looks like the young female main character will be saved. Circumstances end up making the situation worse. 

Where it happens so many times it could almost be a running joke. Though each time it is presented it seems to be at a different level of desperation and rising emotional unraveling.

She is the major problem most times in all of these situations, but she is just a child, but more than A handful and violent who can’t seemingly calm down or manage her emotions. She is more a product of her environment and where she has been pushed by the adults in her life. 

We see what maybe inspires her. In her mother’s overwhelming false promises and keeps on taking in the obviously wrong men. Who seems more important to her than her kids.

This movie takes you on a journey with her, an emotionally raw one by the end you feel worn out and exhausted.

The only Person she bonds with is her Walker who had an anger problem himself and after some success, she eventually becomes too much for him a grown man. Though we learn more about her through their time together. He is constantly trying to protect her though he isn’t that conventional himself 

Throughout the film, it is a wild ride. As always there seems to be hope and some peace. Through a parent or savior, something goes wrong, usually through the behavior of the child. That she ends up living up to the title of the movie as her file. Where despite the many phases and programs for different types of children meant to save her. She fails through them all and is too young for others even the rock bottom last resort she seems too strong for.

Even though she can be innocent and charming. Like with her school walker’s wife. Soon enough she presents her scary angry side. This ends up leading to one of the more nail-biting scenes of the soon 

The film presents an ending that is ambiguous but seems like she will never stop or learn her lesson. As what starts out as a tantrum shows she kind of takes joy in causing trouble.

Grade: A-

SERVICE (SERBIS) (2008)

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Directed By: Brillante Mendoza 
Written By: Armando Lao 
Story By: Armando Lao & Boots Agbayani Pastor 
Cinematography By: Odyssey Flores 
Editor: Claire Villa-Real 


 Cast: Gina Pareno, Jaclyn Jose, Julio Diaz, Kristoffer King, Dan Alvaro, Coco Martin, Mercedes Cabral 

A drama that follows the travails of the Pineda family in the Filipino city of Angeles. Bigamy, unwanted pregnancy, possible incest, and bothersome skin irritations are all part of their daily challenges, but the real “star” of the show is an enormous, dilapidated movie theater that doubles as family business and living space. At one time a prestige establishment, the theater now runs porn double bills and serves as a meeting ground for hustlers of every conceivable persuasion. The film captures the sordid, fetid atmosphere, interweaving various family subplots with the comings and goings of customers, thieves and even a runaway goat while enveloping the viewer in a maelstrom of sound, noise and continuous motion.

This is like Italian neo-realism only in the Philippines. The film-making is seamless almost like a documentary. The reason you know it’s not because little plot threads all come together in one day. The fact that the film takes place over one day doesn’t help.

As the movie goes I can’t say that you learn to like the characters. You Deal with them and see what they go through since they are the main protagonists.

The film Is about a family that runs a rundown porno theater that doubles as a place for hustlers to pick up a d be picked up. We more follow the in’s and outs of the duties and responsibilities that each member of the family must deal with which seems non-stop

Now, this is a true torture porn movie and it only Runs 85 minutes. It’s not a bad film, but after a while, it becomes hard to sit through all the hustle and bustle. They have to deal with and they manage to survive, but you have to remember. This is just an average day. Not like in horror movies where if you survive his you are safe or at least death comes eventually and relieves you of your pain.

Sitting here watching this film you remember that things are bad In Third-world countries like this and these people will most likely live their whole lives like this. And then pass it to the next generation. That is the true horror and nightmare of the situation.

The film. Is filled with gratuitous sex. Though that is clear in its background it is not the film’s focus. This is not a film that offers any hope or chance for some kind of change. It has a few, very few lighthearted moments.

The film gives you a glimpse into a foreign land and lifestyle that is gripping, but reminds you to be happy with what you have as it could be worse.

 Grade: B+