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“The Grand Tour” movie review
Euro journey is a comet
Author: Lukasz Mankowski
The former capital of Burma, Rangoon, 1917. British official Edward Abbott decides to go on a tour of neighboring countries. He is running away from something, perhaps from someone, but what matters is that he wants to break free from an indefinite trap. He boards a train and sets off for Bangkok, Saigon, Osaka and Shanghai – a tour intended to bring relief from the past that haunts him. But she won’t give up that easily.
Abbott’s “Grand Tour” is a journey at the crossroads of mystery, and therefore unique. It is a fairy tale told in classic Gomez style, woven in the service of the defense of the imagination, imbued with bitter humor, flamboyant visuals, ambient melancholy, and the poetics of dreams. And although Gomez plays official games with a crush on all his own ideas, somewhere in the background the story is filled with a somewhat disturbing nostalgia. The glow of longing for distant times, a little dusty and hazy, is of course exhilarating, but it also resonates under the skin with an indistinct streak of fears.
Originally, the concept of the “Grand Tour” was intended for privileged white people who embarked on their own Eurotrip to build cultural capital. They visited European greatness, making a formative journey for themselves. Gomez brings this concept to East and Southeast Asia, imposing a dreamy, romantic filter on the journey, as the exotic land becomes a path of epic escape. Once we are already in 1917 and reminded of it by a monochrome photograph, but among the postcards from the journey a record of the future is captured – two temporal orders unexpectedly create one, dreams come in Technicolor, modernity sneaks a peek, reminding us of the manipulative possibilities of the film medium.
You can read the full review of “Grand Tour” on its card at the link here.
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“The Apprentice” movie review.
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Author: Michal Valkiewicz
Don’t be confused by Trump! The TV show “The Apprentice”, in which young entrepreneurs sell their ideas to business sharks, is always ready to strike and views its “students” as small fish in murky waters. In turn, the film “The Apprentice” by the Iranian-Danish director Ali Abbasi (“The Holy Spider,” “The Frontier”) and the American political journalist Gabriel Sherman sees in his “master” the idol of hedonism and the unstoppable element in the business mechanism. Both productions are about success, changing the state of the game, and building an empire on the bones of your competitors. And they are both strange Origin storyWhich a generous person might have called: “Donald Trump. It wasn’t always this way
I don’t know if Abbasi is generous or not. However, I know that on paper his film is a blast — especially on the eve of a presidential campaign, when any relativistic narrative could turn Trump into a cute teddy bear. Of course, Trump’s movie is not a teddy bear — he is an idiot, a lunatic, a homophobe, a racist, and a rapist (the scene of the sexual assault on his wife, Ivana, widely discussed in the media, is disgusting and repulsive). Not as comfortable as we expected.) However, he is sometimes portrayed as a victim of a malicious fate that carries obvious risks. When someone’s agency is taken away, they cannot be held accountable.
We meet young Donald in the 1970s, during a legal battle with the Department of Justice. The allegations concern racial profiling of residents of the estates of the Trump family holding company, and the bloodless clashes with the cold patriarch (Martin Donovan) serve as exposition: in the early parts of the film, Trump is a walking ball of complexes (with his father complex in the foreground), and hostile reactions Society and barely disguised narcissism. However, when the hero’s path comes in the way of notorious attorney Roy Cohn (Jeremy Strong), who defended Gotti, embraced Nixon and advised Senator McCarthy during Senate hearings, the journey to the “dark side” will come to an end.
You can read the full review of “The Apprentice” on its card at the link here.
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