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Ever since it was announced that an adaptation of the science fiction novel masterpiece Dune was in the making by genius Denis Villeneuve, I have decided to read the novel. Usually science fiction is not my favourite genre, neither for books nor for films, but every now and then I make exceptions. This is certainly a book (and film, from what is know so far before its release) that is worthy of being read by every reader - so I have tackled its 800 pages, which accounts for at least the first volume of the Dune saga.

The novel Dune is set in a dystopian world invented by Herbert, which is unusual in its detail and to some extent reminiscent of the Star Wars world. Different people live on different planets on an epic scale, with tribes and feuds and history as complex and deep as in Shakespearean plays. At the center of the story is the royal Atreides family, with their young son Paul the future heir to the Ducal throne of his father, educated to become a leader by his parents and many tutors. When his father, Duke Leto, is ordered by the Emperor to take over the harsh desert planet Arrakis, Paul's fate changes quicker than anyone expected. The young hero finds himself learning to adapt and find his destiny, guided by his training but also by his own talents which he is still in the process of discovering.

While the plot is a page turner and the characters really well-written, one of the main features that makes this book timeless is the invention of a world that includes many parallels to our own, and can serve as a parable to our own real history and present issues. Not only crucial themes such as coming-of-age, family, love and betrayal are central in this novel as in many great pieces of literature, but also themes such as the environment and adapting to life in inhabitable areas are covered at length. It is no surprise that this tale works well on the cinema screen as well, and that the technological improvements have made an adaptation possible that previous directors who adapted Dune could only dream of. The interest of the public in related themes has grown, which allows this new Dune adaptation to be widely watched and discussed in a way that was not the case some decades ago. 

Both book and film are then at the center of the arts world and audiences worldwide, and rightly so. if you watch the film and enjoy it, I can only recommend reading the novel as well to immerse yourself further into the world of Frank Herbert. If you still want to read the novel before the film is released, you better get started...

(Release date: September/October 2021, depending on the country. Some images below.)

(Images: book by me, film: IMDB)

The filmography of Quentin Tarantino is impressive, and includes many masterpieces I admire (like most cinephiles - how could you not?). His career as a writer, however, has so far been limited to the publication of some screenplays - until now. Recently, a novelization of his most recent film, Once Upon a Time in Hollywood, was published. A must read for me, and it was certainly worth it - here is why.

The design of Tarantino's first novel has already created a hype, as it is is done in very old school paperback style, which evokes the same kind of nostalgia fitting the film Once Upon a Time in Hollywood and its 60s vibes. This fits the novel, which - like the film - rather captures the vibe of 1969 in Hollywood than cares about plot development. 

The basis of the novel is exactly like in the film (mild spoilers ahead of you haven’t seen the film by now): Rick Dalton is a TV star, who is increasingly worried about his career, while his stunt double Cliff Booth has already accepted that his career is basically over and he is more of a chauffeur these days. Rick’s next door neighbors, however, are extremely successful, and in contrast to Rick and Cliff real persons - Roman Polanski and Sharon Tate. To every person of knowledge about these two individuals and their tragic lives, the introduction of these characters is not only a contrast to our protagonists Rick and Cliff, but serves as dramatic irony filling the audience with dread of what is to come at the culmination of this story.

The novel follows Rick, Cliff and Sharon in alternation, shifting not only in perspectives but also in chronology. This is especially interesting when further light is shed on some characters’ past, such as the story of Cliff’s bad reputation or how the girl nicknamed ‘Pussycat’ ended up in Charlie Manson’s ‘family’. The characters are well written and the dialogues are of course as great as in Tarantino’s films. 

Once Upon a Time in Hollywood is not only a chronological retelling of the film in prose, but includes many additional scenes, interesting background information and is written in a form that is certainly worthy of a novel. Most interestingly to me, there are parts of the film that are very important but marginalised in the novel, while other moments take center stage. Both creations are masterpieces in my opinion in how they bring a bygone era to life, mixing fact and fiction in a magical and unexpected way. If you're a cinephile who is interested in Hollywood in 1969, and/or enjoyed the film, this is certainly worth reading.

(Images: by me (book) and IMDB (film))

Our most recent book club choice has been on my list since it came out last year, and it is so deserving of all the praise and awards. My favorite book of the year so far, and this right after reading Shuggie Bain and Homegoing which I both really loved. The idea of British writer Maggie O‘Farrell is simple and genius at the same time: Hamnet is a vision of the life of playwright William Shakespeare, based on the little biographical information available.

O‘Farrell creates a magical world around the Shakespeare family with a young William in the centre of her tale, detailing both his youth as well as life as a father of three at a later stage, moving between two timelines with ease. The tension and dramatic irony compelling the reader are partly due to this masterful storytelling, and partly due to the biographical knowledge. The reader knows all too well how Shakespeare’s life will transform from an aimless young man in Stratford-Upon-Avon to a successful writer and theatre entrepreneur in London. Beyond that, it is well-known (and also already mentioned in the blurb of the novel, and therefore can’t be considered a spoiler) that his son Hamnet died at age 11, and then Shakespeare went on to write his play Hamlet several years later. O‘Farrell creates a stunning tale including these elements and so much more. 

Hamnet is not necessarily a novel for historians and Shakespeare scholars, but rather for readers who enjoy imagining past worlds, and have an interest in Elizabethan England. Beyond that, I can recommend this novel to anyone who simply enjoys storytelling and family tales. It certainly gives an interesting insight into life both on the countryside as well as the urban London at the time, and adds a fascinating layer to all speculation about the mysterious Shakespeare, about whom so little is known. 

(Images by me.)

I recently watched Paths of Glory, a masterpiece by Stanley Kubrick. Somehow I’d never even had it on my watchlist because honestly, watching films about WW1 is never enjoyable. If it is made by Kubrick and starring Kirk Douglas, it is certainly worth watching, though. So I’m glad I got a chance to see it in a work context. Here is why.

Against the backdrop of the harsh fight in the trenches of World War I, Douglas plays Colonel Dax, whose regiment is given an impossible task and fails. In the aftermath, questions of blame and possible cowardice are raised. Dax does his utmost to stand up for his men, against all odds. The conflict exposes conflicts of moral values and personal gain, which certainly hold different values for the various characters. 

A war film which is clearly an anti-war statement, for film lovers who are interested in political and military plot elements, as well as courtroom drama. I felt at times reminded of A Few Good Men (Reiner) and J’accuse (Polanski) for those reasons, as well as 1917 (Mendes) in terms of the WW1 setting and the impossible mission. If you enjoyed any of these (or as in my case, all of the above), Paths of Glory is a must watch. Shot in 1957, it has aged remarkably well in terms of content and especially cinematography.

(Images: IMDB)

Some films are on our watchlists for a long time, and when one finally watches them one regrets having waited so long. Road to Perdition was such a film for me: despite many reasons for watching it, it never seemed to be the right time for it, until this year. It left me impressed and remained on my mind - so much that I'm recommending it here, despite being an older production. Here is why.

Released in the year 2002, Road to Perdition was directed by Oscar winner Sam Mendes (American Beauty, Skyfall, 1917) and stars Tom Hanks, Paul Newman and Jude Law in the leading roles. Besides that, Tyler Hoechlin plays Hanks's young son in an important role, and the supporting cast is also stellar: Daniel Craig, Jennifer Jason Leigh, Ciarán Hinds and Stanley Tucci round off the exceptional cast. 

Tom Hanks plays the protagonist, Michael Sullivan, who works for an Irish-American mob boss in the Depression Era in Illinois. Having grown up under the protection of mob boss Rooney (Newman), he is very loyal and has an almost father-like reverence for his boss. The situation in the crime family gets out of hand when the jealous real son of Rooney (Craig) stirs up trouble. Sullivan needs to protect his family and plans revenge against those who crossed him, changing his entire life. 

The plot is based on a graphic novel, and is comparable with those of other mob related films. There are, however, plenty of surprises and great moments which set this film apart from generic mob films. Besides that, the great all-star cast and directing make this a pleasure to watch. 

One of the reasons why I probably didn't feel like watching this film a few times when I had the chance was the somber, dark setting. Despite doing many great Film Noirs of both past and present filmmakers, one is not always in the mood for it. In this film, it turned out to be one of the greatest assets, as the atmosphere and cinematography are mind-blowing. It was created by Conrad L. Hall, who won his third Oscar for his work on this movie posthumously, as it turned out to be his last production. (He formerly won it for the masterpieces Butch Cassidy and the Sundance Kid and American Beauty, the latter also directed by Mendes). The artistic value of this film is certainly great, with exceptional scenes especially being shot in the rain and with the use of windows and doors. (see images)

This masterpiece is certainly one of the best "older" films I've seen in the last few months, and will remain in my mental film shelf as one of the great mob films besides Once Upon a Time in America, The Godfather I and II and Goodfellas. It is currently on Netflix which makes it more accessible. (at least in Switzerland, June 2021)

(Images: IMDB)

As a loyal reader of all of Ishiguro's work, I have been looking forward to the publication of this novel since I read the last pages of his previous novel The Buried Giant in 2015. Since Ishiguro won the Nobel Prize for Literature in 2017, he has been even more in the spotlight, so his newest novel Klara and the Sun has been highly anticipated. In my opinion, it was worth the wait.

Ishiguro is no stranger to futuristic, dystopian elements in his novels. His successful novel Never Let Me Go is widely considered to be one of the greatest contemporary novels dealing with human cloning and the moral issues connected to it. It is therefore not surprising that, after entering a historical fantasy world in his most recent novel, Ishiguro returns to a dystopian setting. The world of Klara and the Sun, however, is very different from that of the school of clones in Never Let Me Go.

Klara, the protagonist, is not a human being but an artificial friend (AF). Her kind are produced as companions for humans, in a way that evokes electronic gadgets are there are new improved models being released regularly. Having such an unusual protagonist always keeps the readers in suspense: How much does Klara really understand? What does she feel? Are there limits to her capabilities? This creates a very interesting reading experience.

The novel follows Klara from the shop where she is sold to the house of a girl whose mother buys her. She is very observant, and the readers get an exceptional insight from an outsider perspective into a world which is not so very different from our reality in 2021. Some technical and medical advances have certainly influenced the world in the novel, and led to questionable changes. Klara doesn't only face the challenge of needing to figure out this world and how to be of help to her owner Josie, but also needs to keep tabs on her own energy level and the health of Josie - and both of these seem linked to the sun.

Ishiguro writes in a beautiful language as in his other novels, making it easy for the reader to empathise with Klara and Josie, which also creating an uncanny suspense about some elements of this world. The novel is filled with impressive imagery and moments which linger even after reading. Whether Ishiguro can fully resolve all the complex questions he raises, is the object of debate among readers. Personally, I enjoy his novels enough without needing to scientifically dissect all elements. This novel was just as haunting as some of my favourite other novels by this writer, and will certainly remain on my mind for a while.

(Images taken by me)

Since travelling is still not really happening, and winter doesn't fully want to let go, I've been dreaming of tropical faraway places. One of the most magical places I've ever been to is the Hawaiian island of Kaua'i, where the landscapes looks otherworldly and stunning. A must visit for nature lovers.

The Hawaiian islands are in general a dreamy place, where I felt so at home among the friendly people, relaxed vibes and beautiful nature. From the busy streets of Honolulu to visiting Pearl Harbour's memorial sites to untouched beaches, there are many different worlds to be found. One could easily spend a few weeks on each island without getting bored. On our trip there we spent some time on Oahu and on Kaua'i.

The landscapes on Kaua'i are very hilly in comparison to some other islands, and have formations that are unlike I have every seen, even in other volcanic areas. The amazing nature has been the backdrop of many films such as Jurassic World or Pirates of the Caribbean: Stranger Tides. Other films which are also set in Hawaii and are connected tot he island life include Soul Surfer and The Descendants (see review here).

One of my favourite areas is the Kalalau trail, which is a hiking path leading to the most amazing landscapes and a hidden beach, which is only accessible on foot. The same are can also be accessed from higher up through he Way mea Canyon area, or seen by boat. We love the are so much that we did all three options, and I still felt like I could have spent more time there.

A trip to Kaua'i is something magical which will remain in my memories forever, and hopefully one day we will be able to go back and create some more. 

(all pictures taken by me)

It is certainly interesting that Judas and the Black Messiah came out in the same year (at least in terms of awards) as The Trial of the Chicago 7 (see review here). Both films deal with real events during the 1960s in the USA, more specifically the Chicago area. But while Aaron Sorkin's film only shows Bobby Seale's role on the fringe of the main events of the film, and Fred Hampton has a small role as a visitor to the trial, Shaka King's film is centered on the  Black Panther Party and Fred Hampton. Both films are powerful and educational, and are very topical in light of the peaceful protests last year and the Black Lives Matter movement in general.

The knowledge of viewers about Fred Hampton might not be on the same level depending on where one grew up; as a European my knowledge of his life was not very detailed but the film does not require any more than an open mind. (To avoid spoiling the ending I won't go into details about Hampton's or O'Neale's life here.) The most interesting element from a cinematic perspective is that the story is not just chronologically and objectively told related to Fred Hampton's activism, but that there is a focus on the torn FBI-informant William O'Neale, which allows for very interesting perspectives. The FBI and its agents are also shown with the justifications of their actions, and even Mr. Hoover has an uncanny appearance. Overall, it is a very unusual story of activists vs. police, with the Black Panther Party getting new allies and fighting against all odds for their rights and convictions.

Hampton is portrayed by English actor Daniel Kaluuya, who has already garnered recognition for his role in Get Out and also appeared in Black Panther (the Marvel film unrelated to the Party), thus making him a household name even before this great performance. He was considered a frontrunner in the awards season and has just recently won a Golden Globe as a Best Supporting Actor. His Oscar nomination is therefore no surprise, but the nomination of his co-star LaKeith Stanfield (also known from Get Out as well and from the series Atlanta) was not expected by many. (Personally, I liked his performance very much, especially as his torn character gave him great material to work with.) 

What I personally find strange is that the decision was made to put both of them in the Supporting Actor category, despite being the two protagonists and also the title characters (as Judas and Messiah). This might be due to studio preferences and strong contenders for Best Leading Actor with even more screen time, but it is nevertheless unusual. In the end, the Academy made the decision, which has to be accepted.

Besides its two leading actors, the cast is supported by the wonderful Dominique Fishback (The Hate U Give) in a touching performance, the omnipresent and talented Jesse Plemons (Fargo, Breaking Bad) as an FBI agent as well as Martin Sheen in a memorable performance as J. Edgar Hoover.

Overall, it is not a surprise that this film is getting so much recognition, and even received a Best Picture and Best Screenplay nomination. It is telling a shocking true story in a convincing and heartbreaking way, filled with powerful performances and events that make the audience remember this film.

(Images: IMDB)

Before the Oscar nominations come out, here's my tip of one of the most talked-about films up for nominations. Minari is a feature film made by American director Lee Isaac Chung, who is the son of Korean immigrants. The film tells a story of such an immigration in the 1980s, following a family of four who move to a rural area to achieve their American dream. 

(Just because they're so beautiful, a few more film posters; more film stills further down in this post.)

Ever since Minari was shown at Sundance in 2020 and won the Audience Award and the Grand Prize of the Jury, it has been highly anticipated by film fans. Since then, it has gone on to win 82 awards and garner  195 further nominations (current numbers on March 13th), among them also a Golden Globe for the Best Foreign Language Film. Naturally, it is expected to get further recognition at the Oscars and hopefully also some success at the box office (where cinemas are open or reopening).

In my opinion, Minari fully deserves all its praise and more - it is certainly one of the loveliest films I've seen in the last 12 months. The story of Jacob, Anne and their children, in the 1980s in America, rings true and is reminiscent of many fates of hard workers searching for their lucky break. In the case of this family, they take considerable risk to improve their financial situation, which is even more important because their young son David is in need of medical treatments due to a heart issue. The hardships certainly are reminiscent of great American classics such as John Steinbeck's The Grapes of Wrath and Of Mice and Men, not only in their agricultural American dream but also in their tone and tragic scope. Besides the great writing and touching story, the wonderful acting by all cast members, the cinematography and the stunning soundtrack make this film into an unforgettable experience.

One of the main points of discussion is the category in which Minari is getting recognition. A similar controversy revolved around the film Roma by Alfonso Cuarón, some years ago, which in the end was nominated not only for best Foreign Language Film but also for Best Picture, winning the former category as well as Best Cinematography and Director. This was very unusual for a film entirely in Spanish, and the discussion is even more controversial because Minari includes dialogue in both Korean and English. It is almost certain to be nominated as a foreign language film as it was at the Golden Globes, despite containing enough English to count as an English language film. It will be interesting to see what the Academy decides to do. 

In my opinion, Minari deserves to be a Best Picture nominee - after all, it was made in America by an American filmmaker with plenty of English dialogue. Whether it will win against strong contenders such as Nomadland, Mank and The Father is another question, it is certainly a year with many great films up for consideration.

The adventures of Arsène Lupin are popular books in France and elsewhere, so the anticipation of a series based on the work of Maurice Leblanc was high. Combining the French star Omar Sy with a beautiful Paris setting and a fast-paced story, the series Lupin is bound to be successful.

First of all, it’s important to realize that Lupin isn’t a literal adaptation of the novels by Leblanc. The subtitle Dans l‘ombre d‘Arsène (In the Shadow of Arsène) indicates that it is about a figure inspired by the great Lupin, who lives to some extent in his shadow. If you can accept that and keep an open mind regarding the connection with the literary world and this new series, you will enjoy this.

The protagonist of Lupin is Assane Diop, a Parisian man with origins in Senegal, who works at the Louvre in the cleaning department. When a famous necklace is up for an auction, he makes a devious plan - or so it seems. Because in reality, many things are different than they first appear. Assane is a fan of the famed Lupin and has been reading the books about him since he was a boy, and is inspired by some of Lupin's tricks and methods in his own actions. 

Lupin plays with chronology and different perspectives, creating some surprises for the audience. While some twists seem too obvious, others are well-crafted and make for a few great scenes. The connections to the original material are frequent and keep the plot going, resulting in a world which is at the same time crime- and police-centered while also rooted in literature and referencing stories of Arsène Lupin. This combination makes it very unique - at times it reminded me of the Sherlock series with Benedict Cumberbatch, which also combines a literary classic with modernity.

Besides this main interesting plot element, the series lives from Omar Sy, who once again delivers a convincing performance with both humorous and serious moments. His most famous co-star is French actress Ludivine Sagnier (known mainly from Francois Ozon's films 8 femmes and Swimming Pool) who plays his ex-wife. The rest of the supporting cast, among them Vincent Londez, Clotilde Hesme and Hervé Pierre, is fitting with many funny and unexpected roles.

Besides the cast, the setting steals the show, with Paris being shown in all its glory, from the famous parks and monumental buildings, to the urban outskirts and escapes on the rooftops. In a time when we can't travel to the city of love, it's beautiful to experience its vibes on screen.

So far, 5 episodes have been released on Netflix, ending with quite a cliffhanger. Looking forward to the continuation...

(Images: IMDB/Netflix)

Filmmaker Chloé Zhao was originally a documentary film director, and this is still visible in Nomadland. Some of her actors are real people playing themselves, which adds to the realism of this film.

The defining face of the film, however, is Frances McDormand, who once again nails her portrayal of an unusual woman. Roles in great films such as Fargo and Three Billboards Outside Ebbing, Missouri allowed her to fully show her skills, and this newest role of her adds to the knowledge that she is one of the finest actresses of her generation. 

Among many other awards and nominations, both McDormand and Zhao have been nominated for a Golden Globe for their work on this film, and one can only assume that Oscar nominations (and potentially wins) will follow. Nomadland is also nominated for the best picture and screenplay, making it one of the films with the most award buzz this season. (Overall so far, until February 26th: 162 wins and 120 nominations according to IMDB!).

Nomadland was originally a non-fiction book by Jessica Bruder, published in 2017 to some success. The full title of the book is Nomadland: Surviving America in the Twenty-First Century, which already indicates that it is about the modern nomads living in contemporary America - not always out of choice and the wish for freedom, but often out of necessity and poverty. 

The protagonist of the film is a woman called Fern, who travels the US in her van while working in off jobs. Having lost both her husband and her job, she doesn't see many alternatives, but is partly supported by other modern nomads (real nomads playing themselves) who organise themselves in a community and help her get the skills she needs for life on the road. Fern's journey is not only a physical one through America from job to job, but also an inner one, finding herself and figuring out how to live her life. It is not only visually beautiful but very inspiring and moving, and a true cinematic masterpiece on all levels: writing, directing, acting, cinematography.

Now available to stream and to see in cinemas where possible. 

(Images: IMDB)

A Western is not what I expected from director Greengrass and starring Tom Hanks - but they have achieved just that with News of the World, and did a decent job at that. The tale of a travelling news man in the harsh world shortly after the American Civil War, who comes across an orphaned girl in need of transportation to her only remaining family. The film is worth watching for several reasons.

While cinemas are still closed in many countries, the number of new films being released on streaming platforms is increasing. News of the World is one of these examples, which was filmed for the big screen but now released on Netflix - better to be seen on a smaller screen than not at all. On a reasonably sized television, the beauty of a Western and the wonderful sceneries can also be appreciated. 

Tom Hanks plays a character with an unusual profession: Captain Kidd is a Civil War veteran, who travels from town to town in Texas and reads the news to the townspeople who cannot read or don't have any other source of information. It is a lonely and sometimes dangerous job in these harsh times, but it is visible that he enjoys his profession. His life, however, changes drastically when a chance encounter with an orphan leads him to change his travel plans. 

The 10-year-old Johanna has already suffered much when she was abducted and raised by the Kiowa tribe, and is to be brought to her only living relatives after being taken from this second family. Completely alone and scared, speaking only Kiowa, the little girl is dependent on the stranger who takes is upon him to help out, and protect her from the many dangers for a young girl. She is a fierce and resourceful girl, as Captain Kidd quickly notices, but completely unaccustomed to the world she was forced to enter - for the second time in her life.

German actress Helena Zengel (known to German-speaking audiences from her performance in Systemsprenger) plays the unusual girl masterfully, especially given her age. She has already been nominated for an SAG and a Golden Globe as a best supporting actress for this role, which brings up memories of Anna Paquin, who is the youngest Oscar winner in recent history at age 11. (Tatum O'Neal was 10 in 1974, offically the youngest.)

The film is not only a traditional Western with some rough brawls, fights and travelling with horses in beautiful surroundings, but also includes some interesting elements such as the Kiowa tribe, the German-originated Americans in Texas as well as some political elements with similarities to current times. The relationship between Kidd and Johanna is at the center, though, and gives the two protagonists a beautiful opportunity to play - without using many words. Overall, an interesting film with many surprising elements. 

(Images: IMDB)

The Goldfinch was one of my favourites novels of my reading challenge last year. It is a Pulitzer-Prize-winning bestseller from 2014. Despite being very long, this masterpiece kept my attention until the end. Recently I watched the film adaptation, which brought back some thoughts about The Goldfinch.

The novel The Goldfinch is worth diving into for anyone, but especially for lovers of art. The eponymous goldfinch is not a real bird but a painting, which really exists. It has a special importance for the protagonist, Theo Decker, a young boy from New York who loves to visit museums with his mom. When his mother is killed in a tragic event, the painting becomes connected to her death and memory. Theo's life changes drastically, and he lives in different places in the years of his adolescence.

The setting of the wealthy New Yorker families and their lavish lifestyle is contrasted with a later Las Vegas setting, and completed with an essential trip to the Netherlands. Donna Tartt masterfully weaves the various settings and characters of Theo's life together, with the painting of the goldfinch always present and influencing many of his choices. His unusual life is fascinating, and the many characters are so well-written that they really come alive on the pages, such as the stiff Mrs. Barbour who looks after Theo for a while with her dysfunctional family, or the loveable Hobie who introduces Theo to the world of antique furniture and becomes a mentor in many ways. Many characters have heartbreaking as well as hilarious storylines, creating a rich and realistic image of contemporary America and some of its population.

This masterpiece kept me fascinated until the end, and has made a lasting impact.

The film version of The Goldfinch was released in 2019, but was not very successful despite a stellar cast with Ansel Ergort and Nicole Kidman, with many great minor roles played by Jeffrey Wright, Luke Wilson, Sarah Paulson, Willa Fitzegerald and Finn Wolfhard, to name but a few.

Personally, I loved the film, but I can imagine that it might not be the same experience if one hasn't read the book (as is often the case).On the other hand, it's always difficult to bring a long novel with a huge list of characters and a timespan of about 10 years to the screen in a convincing way. In my opinion, both the actors in the younger versions as well as the older ones of some of the characters were well cast. The director is Irishman John Crowley, who has already shown his talent for adaptation with Brooklyn (2015, based on the novel by Colm Tóibín). I only noticed the name of the cinematographer after the film but was stunned by the beautiful images while watching: it was the iconic Roger Deakins, which made sense as soon as I read his name. (I'll post some of my favourite shots in the Instagram post as well if you're interested.)

Overall, the film is a beautiful visualisation of the novel, and does a great job of tying the elements of the story together while omitting some of the less essential parts.

Images: myself (book) and IMDB (film)

When it became known that Shonda Rhimes, the creator of popular shows such as Grey's Anatomy and How to Get Away with Murder, would make a series for Netflix based on some romance novels, many were excited. I personally haven't read the novels by Julia Quinn about the large Bridgerton family, but I thought I'd give the series a chance - like a record-breaking number of other viewers as well. My verdict is very mixed, but here's why watching Bridgerton is worth it.

As a student of English literature, I have read many romance novels from various eras, and have also watched countries adaptations of classical novels. Topics like family, courtship and marriage, as well as financial hardships of various social classes are present in most of these, and are wonderful to read about if the author is skilled -  as Jane Austen, Elizabeth Gaskell , George Eliot and the Brontë sisters prove, among others. 

It's difficult to reach the level these novels nowadays, in a time when many romance novels are rather considered entertainment than literature. American novelist Julia Quinn is one of the writers who has really become successful in her own genre, selling millions of books and giving up any other career plans she once had when attending Harvard University. Born in 1970, she has written more than 20 novels so far, and has now increased her audience by everyone watching the TV series.

The novels that form the basis of this series are 8 books, one for each of the Bridgerton siblings. The family is blessed with four sons and four daughters, which are named alphabetically in order of their birth - Anthony, Benedict, Colin, Daphne, Eloise, Francesca, Gregory and Hyacinth. While the titles of the novels are very different (e.g. The Duke and I, The Viscount Who Loved Me etc.), the series is titled Bridgerton after the family name. As there are eight siblings and novels, one can expect there to be eight seasons of the series.

I started watching the series without any high expectations, and found some elements to be really pleasing:

- The costumes and the entire sets are beautiful to look at (they might not be historically accurate in the way that many period dramas as trying to be, but they're certainly stunning).

- The world of the so-called "ton" (the high society) during the London season is wonderful to watch for anyone who loves Regency novels and films (Austenites will recognise settings such as Bath as well).

- The large cast of eight Bridgerton children and their mother, as well as several other families and supporting characters, is generally well-cast and provides various storylines with plenty of diversion.

- The idea of an anonymous writer who publishes all the gossip, Lady Whistledown, creates some tension and excitement, and is a smart idea because it connects all the characters. It is of course reminiscent of the concept of Gossip Girl, as has often been pointed out.

- The colour-conscious casting, which has become the norm in British theatre and also in some film productions (e.g. also in Mary Queen of Scots, where it has been widely discussed), is refreshing to see and sets the series apart from more traditional Regency films and series (this has been heavily criticised by some as "unrealistic", but in my opinion that's totally acceptable in 2020, especially as it's a fictional story).

- The music, which includes some instrumental versions of modern pop songs (e.g. by Taylor Swift and Billie Eilish), adds an interesting element which I found a nice touch fitting this Recency-inspired world with modern touches.

- Some modern elements, seen in the behaviour or wishes of several of the female characters, are actually nice to see, even if not very realistic (e.g. women trying to choose an unusual path in society, defending themselves from unwanted attention...).

***

Some other elements, however, were very annoying or disturbing to me, and made me reluctant to actually recommend this series:

- Well, I haven't mentioned the plot yet - for a reason. Without wanting to spoil anything, I thought it was often very strange and unrealistic, and far from smooth writing. Some scenes were hard to watch.

- The dialogue, which I heard is quite witty and funny in the books, is, well...not that. The dialogues only made me laugh sometimes for the wrong reasons. 

- While fan fiction is a justified genre, this really does at times feel like Jane Austen fan fiction, but not on the same level. Being neither British not American, I had the distinct impressions hat I was watching an American version of a fictional British parallel world, which seemed a strange combination.

- The whole sexual part of the series felt really unnatural to me. It certainly is unusual to see any sex scenes in Regency films, but that could have been an interesting difference. As countless films show, it's possible to film sex scenes that are relevant to the plot and are filmed in a way that is not embarrassing to watch. It seems to me that they wanted to show some skin of the beautiful protagonists - but the chemistry is totally lacking...

***

All of that being said, it was enjoyable to watch overall, not the least because it is a nice escape from current times. But some things could have been improved, and one can only hope that the next seasons will bring some improvements in these elements. As many other series have shown, this is often the case when a series gets more money after a successful first season, so there is hope.

Let me know what you think, and if you had similar things that bothered you...

(Images: IMDB; Netflix)

A highly anticipated new film, which has visuals and a message that are very unusual and striking. Inspired by the notorious criminal case of Brock Turner, a Stanford student who assaulted an unconscious woman, and was later described as a "Promising Young Man". The film Promising Young Woman tells the story of Cassie, a woman troubled by events during her time at university, and trying to both move forward but also take revenge.

The brain behind this topical film is British actress, producer, writer and now director Emerald Fennell. Known for her acting in Call the Midwife or most recently The Crown (as Camilla Parker-Bowles), she has also been a writer and producer on the hit series Killing Eve. It's great to have a young female writer be able to also direct her first full-length feature film, and getting so much recognition - it certainly isn't the norm (yet). Similar to Greta Gerwig or more recently Olivia Wilde, Emerald Fennell is also at home on and off screen, and shows her talent in this film.

The main attraction of Promising Young Woman is the script, written by Emerald Fennell. Already the trailer makes clear that this is a film about a case of violence against women, in a way that has sadly often been in the news in recent years. (As the trailer doesn't fully show it and some details are only revealed step by step in the film, I will not spoil any of the specifics of the criminal case at the basis of the film.) The unusual element of this film is that it doesn't show the crime, or the legal aftermath. Instead, it shows the effect on the people who were somehow involved in the situation.

The protagonist Cassie has not forgotten what happened at university, and it has altered the course of her life. She spends her time exposing predators, consumed with anger and having dropped out of university after law school. But when a former colleague from these days enters the coffee shop where she works, things start to change on various levels. The films is overall extremely entertaining, but also includes many serious moments that make you think about past cases of assault and harassment, and the injustices and atrocities related to them. The university and legal system are also part of this revenge story, and deservedly so. Besides the content, which is a fresh and courageous take on this topic, the cinematography, costumes and music stand out. All of them are very feminine in an interesting way, contrasting clichés with beauty in unexpected combinations. (Britney Spears and Paris Hilton included...)

The cast of Promising Young Woman is stellar, mainly because of the protagonist played by Carey Mulligan. She is extremely versatile and vulnerable in this role, and shows a very different side of herself. She is supported by great actors such as Connie Britton, Alfred Molina and Laverne Cox, as well a  collection of great younger actors such as Alison Brie, Adam Brodie, Max Greenfield, Chris Lowell and Bo Burnham, many of which are rather known from comedies. 

A brave film, which deals with a very sensitive and important topic in an unusual way. It navigates the different genres and changes in tone very well, and does not disappoint until the end. It is never predictable, and very well-written. While I'm sure it will receive criticism by some, I believe it can also change some people's minds on the topic. 

(Images: IMDB)

While I spend many days in the mountains every winter, this year is different. One one hand, I cherish nature even more than normally, because there is some normalcy in it, and it allows me to recharge my batteries. On the other hand, many usual enjoyments are limited due to corona restrictions, so winter time this year is rather going for walks in the snow in areas without large numbers of people. Nevertheless, the beauty is splendid as ever, and I just want to share some as every year.

Some impressions from Engadin (Surlej, Sils, St. Moritz, Staz).

Some impressions from Bregaglia (Coltura, Soglio, Vicosoprano).

And finally, impressions from a very cold day in Sils.

(All images taken by me in December 2020 and January 2021 on my iPhone.)

These days I miss the mountains a lot. It's been a while since I was there, as I've had a lot of work and I'm reluctant to enter any gondola or funicular these days. So our weekends were spent rather in the city, where luckily there has also been some snow to create a wintry atmosphere. Memories of past winters with hiking, snowboarding and sunbathing in the mountains surrounded by snow and beauty keep popping up - not only in my mind, but also on my social media feed.

So I'm just indulging in some of these photos from the last few winters and some of my favourite snowy views on and off the slopes. Hopefully, I will soon manage to experience similar moments again - as well as all snow lovers.

(All pictures taken by me in Switzerland during the last few years.)

By chance, I read something about a short film related to a deaf girl. When looking it up, I found that it has just recently been made available and I was thus able to watch it. The Silent Child is an inspiring and moving short film, which tells the story of a social worker who is hired to help a deaf girl. A wonderful piece of art, which I recommend to everyone interested in education and teaching, but also in disabilities and how to create a safe, respectful environment for people with any kind of disabilities.

The script for A Silent Child was written by Rachel Shenton, who also plays the social worker. Her writing and performance are central to this film, but the heart of it is the young girl, played by Maisie Sly. The two have great chemistry, and first time actress Maisie is giving a touching performance for someone her age, especially given the fact that she has no audible dialogue to express her emotions. The film is mainly in English with some use of sign language as well. Besides the inspiring story, the film is also noteworthy for its beautiful cinematography, which supports the film's atmosphere. 

In 2018, it won the Oscar for the Best Live Action Short Film, as well as many other awards given by juries and audiences at film festivals.

The film can be watched on YouTube, see link below. Make sure to put on subtitles, as there is some use of sign language. Enjoy!

()mages: IMDB)

The story of Mank is based on the true story of Herman Mankiewicz, an influential screenwriter and producer in Hollywood in the 30s. The main plot of the film is the process of the screenwriting of Citizen Kane (1941), which would later go on to win the Oscar for the best original screenplay. This is not only more complex than usual because Mank is recovering from a car accident and kept from his beloved liquor by the studio, but also because he needs to please filmmaker prodigy Orson Welles, who will be directing the film. In addition to this, the film details the inspiration for Mank's screenplay in flashbacks: The protagonist Kane is famously based on William Randolph Hearst, the publishing tycoon.

This combination is mainly a treat for film fans, and it definitely helps to be interested in Hollywood, its studio system at the time and the work of Herman Mankiewicz and his brother Joe, Orson Welles as well as Louis B Mayer, David O. Selznick and so on. Many of these studio bosses, producers and writers are shown in the film, and the system at the time is well-shown. It is also possible, however, to watch this film without any of all that knowledge and still enjoy it, because the craftsmanship of director Fincher is as always on point.

The script for Mank was written by Fincher's late father, and the film took some time to be made because Fincher wanted it to be shot in black and white in a similar style as Citizen Kane. Luckily, nowadays it is sometimes possible to bring such projects to life with the help of an unusual studio, in this case Netflix. (The film is released both to the cinema and the screaming service.) The cast brought together by Fincher is stellar, with Oscar winner Gary Oldman as Mank, and Amanda Seyfried, Lily Collins, Tuppence Middleton and Charles Dance in other roles. Oldman is impressive as always, and the role allows him to show a wide range of emotions. 

A political component adds another layer to the story, which makes it very topical in 2020 (which is interesting in terms of timing, as the script is many years old). In the flashbacks throughout the film, the process of the gubernatorial race in California in 1934 is important, and shows a bitter fight between a Republican and a Democrat (Merriam vs. Sinclair). Mank, like many creative members of Hollywood at the time, is a Democrat, but some forces in the film business have other plans, and use their influence. This part of the plot adds a moral level to the story which I found very interesting, and shows us a different take on some of the Hollywood stars.

The filming in black and white is stunning, and evokes the era of Citizen Kane. Some of the cinematography is visually masterful, as the following images show. Especially the framing and some details are beautiful. The constant smoking in some scenes also gives nice possibilities reminiscent of the film noir era.

Overall, this is certainly a masterpiece which will please film lovers and critics, and is likely to receive critical acclaim and accolades. Whether it will be commercially successful is another story, but it will certainly add to David Fincher's reputation of a brilliant filmmaker. 

Currently in cinemas and coming to Netflix this week. Definitely worth seeing on the big screen if you can manage to go to the cinema.

While November is usually not my favourite month of the year, it certainly has its advantages as well. One of them is - at least in the Zurich area - the foggy magic. While it's quite grey and sometimes bleak to be underneath it, it can be wonderful when it lifts or dissolves, or when you can go above it. Here is some inspiration for fog watching.

One area that is especially nice to see the fog is the Atzmännig area, about half an hour from Zurich. Views towards both the lake of Zurich and the mountains are beautiful, and the ridge of the mountain is often above the fog before the surrounding area. As the highest point can be reached by chairlift (also very safe during a pandemic as it's open-air and only 2 people per chair), you don't have to climb very high to reach the view.

A classic all year around is the Rigi, often called the "Queen of Mountains" because of her views. In autumn, the  fog can also be spectacular. Sometimes this obstructs the views of the lake, which is a pity, but the magic of thee fog usually makes up for it. It's about one hour to reach from Zurich, and you can reach the peak by funicular if you don't feel like hiking up. From the Kaltbad side, there is also a cable car.

The Uetliberg is a destination well-known to Zurich residents and visitors, as it offers forests, paths and beautiful views right outside the city. The top can be reached by train and then an about 10-minute-long walk, and there's a viewing platform on top, as well as a restaurant. In winter, there are stalls with mulled wine, hot chocolate and more, to warm you up after experiencing the  potentially windy viewpoint. If you manage to catch the sunrise or sunset during a foggy day, it can be spectacular. Often in autumn, it's a just a great way to escape the grey city.

Honourable mentions: I've also experienced beautiful fog in Flumserberg and Hoch-Ybrig while on the slopes of their respective skiing areas. Also, from the Albispass area there are sometimes nice views as well. If you know any other great fog watching spots, let me know :)

(Images: all taken by me in autumn 2020; except those from Rigi are from 2014)

Dark Waters is a film that has been a bit delayed due to the pandemic, but is now shown in most European cinemas and partly already available on demand. This film by renowned director Todd Haynes retells the true story of a lawyer’s fight against chemical giant DuPont in West Virginia, in possibly  the most important legal drama of David versus Goliath since award-winning Erin Brockovich.

The plot of the film is based on true events, which have also been detailed by protagonist Robert Billot in a book about his experiences. Originally a lawyer working in Cincinnati for a film representing chemical companies, he undergoes an unexpected change when he is asked to represent a farmer in his rural West Virginia hometown. When 190 cows on the same farm have died under mysterious circumstances and showing troubling symptoms, this farmer has given up trying to alarm authorities and turns to the law. This case will change Robert Billiot’s life forever, while his work in turn impacts thousands of lives of affected people. 

The current views on ecological issues should definitely help making this film an urgent must-watch. The question of holding big companies responsible for the actions is very current in many countries, and covering up crimes and negligence of the past has come back to haunt many companies. Watching these true events unfold is on one hand a suspenseful thriller, but on the other hand also chilling to watch when considering all the real people who have experienced this.

Director Todd Haynes shows once again (as for example in his masterpiece Carol) that he is very skilled in bringing out the best in an acting ensemble. In this case, the cast is stellar: besides Mark Ruffalo in the leading role, Oscar-winners Anne Hathaway and Tim Robbins show their craft, and are further supported by Bill Pullman, Bill Camp, Mare Winningham and Victor Garber. The entire cast deliver strong performances, but the actor that makes you really empathize and suffer is Mark Ruffalo. Similarly to his roles in Spotlight and Foxcatcher, his emotional range is incredible, and his performance is at its strongest when he uses no words. 

Overall, this film has fulfilled my very high expectations, and I consider it to be one of the finest legal films I’ve seen in the last few years.  

(Images: IMDB)

Some of the rare books can be looked at in open glass cases, and there are several other artefacts such as a large globe. The majority of books are visible but can only be looked at on their shelves. The main collection in the library are manuscripts from the 8th to the 11th century, and are extremely rare and valuable. 

This limited series consists of 7 episodes, and is probably one of the best series of that length I've seen so far. It is based on the novel The Queen's Gambit by Walter Tevis, and tells the story of an orphaned girl who discovers her talent for chess. Even if you don't know much about chess, this is a serious that is very entertaining and so well-shot and written that it's a joy to watch.

The beginning of the series has some Jane Eyre-like elements (which is always a great thing in my opinion), with a protagonist who is an orphan and is sent to a strict school. There she not only finds a friend, but also gets interested in chess when she sees the janitor play it in the basement. This changes the course of her life, and she becomes interested in competing and attending tournaments. 

The plot is told in a non-linear fashion, including flashbacks to her childhood, as well as some interesting jumps in the chronology. This is mainly done (I presume) to avoid lengthy chess games without any interruptions, so there are some creative ways around that, creating suspense. This is done in a seemingly effortless way, which matches many other great achievements: the writing, dialogue, setting and costumes are outstanding. 

The cast is stellar, mainly because of Anya Taylor-Joy in the leading role. She plays Beth Harmon from an awkward teenager to a confident young woman, convincing at every age and portraying a wide range of complex situations. By her side, there are Marielle Heller as her adoptive mother, Thomas Brodie-Sangster and Harry Melling as fellow chess players and Moses Ingram as her boarding school friend. The contrast of the wide-eyed, red-haired girl among the many interesting male players in the chess community is both visually and content-wise very interesting, and allows the actors to have many funny and tense moments. 

Besides the main themes of chess and coming-of-age, there is a focus on addiction and health, as well as life choices. So even if chess is not your favourite game, there are many interesting psychological and tactical elements to it, and other universal themes. Overall, I found this mini series to be immensely enjoyable for various reasons. Anya-Taylor Joy has emerged as one of the young actresses to watch, after her performances in Emma (2020) and her recurring role in cult series Peaky Blinders.

(Images: IMDB)

Well, this is not really a recommendation but rather a celebration of some things that are brightening up the autumn days. Nature is one of the few things that is always open these days, and brings me a lot of joy.  Enjoying it, while also collecting some parts to take home, and capturing some of the autumnal beauty in the form of pictures is one of my favourite things at the moment.

Some of these images were taken in the Swiss mountains in various locations, others in and around Zurich. Generally speaking, I'm always outside whenever the weather is decent and I have time, to take in some of the wonderful autumn colours and fresh air. Many leaves also find their way home and bring some more colour indoors. In my opinion, it's definitely one of the most beautiful times of the year.

The exploitation of young people in the working world - working long hours with low compensation and often with little respect, or even mistreatment - is nothing new, and can be seen in various films from documentaries to subplots of numerous mainstream feature films. More specifically even, the exploitation of young women, especially in the entertainment industry. Rarely, however, is a situation depicted as realistically as in The Assistant, and with such urgency. There are several reasons for that.

Actress Julia Garner plays the leading role, and while she is not a household name yet, she is becoming well-known on the small screen from her performance in the TV series Ozark, for which she has won two Emmys in the last two years. In this film, she how's her talent in a touching way, being visible in every scene of the film and thus amassing an unusual amount of screen time, and showing a wide range of emotions throughout. Supporting actors include Matthew Macfadyen, Kristine Froseth and Jon Orsini, among several other smaller roles and cameos.

The plot has been subject to many discussions, and is the main reason why I'm writing this review. Some viewers were complaining that there is not enough action, and that nothing is really wrong with the situation the young titular  assistant finds herself in. After all, she has landed the job of working for a famous and influential film producer - who wouldn't be thankful for the opportunity? The main issue arising in her situation, however, is the dilemma of many employees: how much do you accept from an employer and work environment in general, and when is the moment when you have to speak up for yourself or others? And are you willing to face the consequences? 

Recently, the film Bombshell has shed light on some of the horrible things happening at the TV channel Fox News int he past, under the watch of Roger Ailes. While this is one of the most famous and by now well-documented cases of sexual harassment and assault at the workplace, there are many other stories, and one can only assume how many of them are not known. In The Assistant, there is no predator with a famous name, but there are some allusions to real men such as Harvey Weinstein and Jeffrey Epstein. 

Especially important in this story, and shown very well by writer and director Kitty Green, are the other people around. Who is complicit in the actions committed by some, and who profits in some way? And what kind of mechanisms are in place to protect employees? These questions are much more urgent than some of the actual crimes committed, because they involve more people and systemic structures and behaviour. In my opinion, there is plenty of action in this film, and also very deliberately shown inaction, and it is overall a very thought-provoking and important film in 2020.

(Currently in Swiss cinemas. 50 people maximum and safety measures, but generally speaking cinemas are very safe places if you follow the rules, so if you can support them please do.)

The new adaptation of Rebecca has been highly anticipated, because it’s rare for anyone to take on a remake of a Hitchcock film. In this case, it was of course rather an adaptation of Du Maurier‘s original novel, but it’s impossible to watch this new film without thinking of the wonderful 1940 version with Laurence Olivier. While the new Rebecca might not satisfy all fans, it is definitely worth returning to Manderley (in contrast to some earlier TV adaptations between 1940 and now).

The story in all three versions (1938 novel, 1940 adaptation and 2020 remake) is quite the same: a young, penniless woman, who works as a companion for a rich lady, meets the wealthy and charming Maxim de Winter and falls in love with him. When he unexpectedly proposes to her, her life is changed forever and she is swept up in his world. Together, they go to his estate Manderley, where a very different and lavish lifestyle awaits her. This new world, however, is overshadowed by the memories of Maxim's first wife Rebecca, who died under mysterious circumstances and still dominates life at Manderley in strange ways. The young Mrs. de Winter finds herself in an uncomfortable and at times uncanny situation....

The book Rebecca by Daphne du Maurier is a Gothic novel, and has remained one of the most popular examples of this genre until today. The fact that it was adapted by Alfred Hitchcock so shortly after being released shows the extent of the impact it had. The original adaptation is done in traditional Hitchcock style, making the most of the suspenseful story and with great performances by its two stars, Laurence Olivier and Joan Fontaine. It made the film very successful, and won countless accolades. It won for example Oscars for the best picture and best cinematography in a black and white film, besides 9 more nominations including for Hitchcock, Olivier and Fontaine. The visuals and cinematography make it unforgettable, and it has remained a popular classic until today.

The biggest visual difference between the two film adaptations is the new one is - not surprisingly in 2020 - in color. Besides that, it has remained rather close to the original in terms of the settings, costumes and atmosphere. Lily James is a fitting actress to show the innocence and naiveté of the young Mrs. de Winter, and Armie Hammer plays the different facets of Mr. de Winter convincingly. The supporting cast is stellar, with Ann Dowd as the rich employer, Kristin Scott Thomas as the stern housekeeper and Sam Riley and Keeley Hawes as relatives of the family. There are only a few creative moments which stand out in terms of filmmaking, during some dream sequences and with several uses of prolepsis. This is definitely different in style from Hitchcock, but in my opinion fittingly done to the story and the visuals overall.

Overall, if you can watch this movie without being prejudiced and comparing everything to the standards of Hitchcock, this is a well-executed and visually beautiful adaptation with a great cast. It is certainly a bit less spooky than the 1940 adaptation, but has its haunted moments as well. At times it feels  a bit like Downton Abbey, not only because actress Lily James was in both productions - but that's not in insult coming from me. On the other hand, the Jane-Eyre-vibes which come up in every Rebecca discussion are also there, due to the many plot similarities - again, rather a compliment from me, and just based on the similarities in the original manuscripts. If such modern adaptations bring classic literature and filmic masterpieces closer to a younger generation, I think that's a good thing. The fact that the film is produced by Netflix and available there only enhances that situation. 

(Images: IMDB)

One of the most famous bookshops in Europe, Libreria Acqua Alta (High Water) is located in the old town of Venice in Italy. It is full of unusual objects and wonderful installations, which have made it into a tourist attraction and a meeting spot for bibliophiles.

One of the main concepts that makes the shop unusual is the water theme. Being named "High Water", which is a common issue in Venice when the water level rises too high, the shop is full of boats. The fire exit goes even via a boat to a channel, and the boats and paddles inside the shop create a very special atmosphere which fits Venice.

This bookshop is also a playground for the cats of the owners, which are walking around freely and enjoy the attention of the clients. As most book lovers would agree, cats and books are a great combination, and these cats make the bookshop even cosier.

The creativity seems endless, as there are many parts in and in front of the bookshop where old books are used for different purposes: made into a wall or stairs, or cut into sculptures hanging from the ceiling. 

Overall, it is a magical experience for book lovers, and there are plenty of beautiful new and old books to discover, as well as souvenirs and Venice-related merchandise. Worth visiting.

(Photos by me)

Aaron Sorkin has long been one of the greatest screenwriters in Hollywood, specialising in dialogue-heavy, witty dramas. The Trial of the Chicago 7 is only his second feature film as a director (after Molly's Game), but is a well-crafted film which is impactful, and which could not be more important to be seen by wide audiences now. Here's why.

The anti-Vietnam demonstrations in Chicago in 1968 during the DNC were important for many groups. Several students associations and anti-war movements decided to protest, so that the mass ofprotesters grew to a critical number. The situation between protestors and police was tense in several situations, and it got out of hand. The reasons for that were manifold, but after the clashes, eight men were indicted with having incited riots. 

The trial, that unfolded into 1969, became a media spectacle and gripped the nation. Director and screenwriter Aaron Sorkin focuses on this part of the story, making it essentially a courtroom drama.  The eight men indicted and tried all have varied backgrounds, and receive different treatments by the legal system. Especially the judge is clearly biased, and the accused and their lawyers have to find a way to overcome some obstacles and some conflicting evidence. 

Personally, I am sold on a courtroom drama by Sorkin anyway, but there are many other reasons why audiences should watch it. The first important reasons are the uncanny parallels to today's America. How police are dealing with peaceful, unarmed protestors has become a current debate, as well as how white and black citizens are treated differently by the police and the law. Many moments in the film ring very true because of these parallels, which will make the events of the Chicago riots and trial easier to relate to for younger audiences.

Such a historical story with many well-documented figures needs a great cast, and Sorkin has definitely managed to get that together. Among the accused are Eddie Redmayne, Sacha Baron Cohen, Jeremy Strong and Yahya Abdul Mateen II, with Mark Rylance and Joseph Gordon-Levitt among the lawyers and Frank Langhella, John Doman and Michael Keaton in further roles (making it a cast including 3 Oscar winners). While Redmayne, Rylance and Keaton are all amazing with some great moments, Sacha Baron Cohen steals the show in this ensemble, not only with humour but also with some serious moments. Overall, the performances are great and will puzzle award shows whom to give more accolades.

The Trial of the Chicago 7 is being shown in cinemas now, and is certainly worth watching on the big screen (I watched it at the cinema when it came out). It is also, however, available on Netflix from this week on, which might make it more easily accessible to many. Highly recommended for all audiences.

While further trips are still difficult to undertake, small excursions are possible and provide a nice activity, especially when being outdoors on a beautiful day. The village of Morcote is one of my favourite places in my country, and a recent trip there has reminded me again of some of its most beautiful spots. 

The location of Morcote is close to the city of Lugano, and can be reached by car, bus or boat. You can also hike up the Monte San Salvatore and then hike to Morcote, of you're feeling more adventurous - it's a lovely hike with spectacular view all around.

In the village of Morcote itself, there are a few nice restaurants at the lakeside, and several ice cream shops. This is often the ideal end to a walk around Morcote, as the village is built on a hill, and walking up to its picturesque church often leaves tourists out of breath and in need of refreshments. The view from the church is beautiful, and there is a lovely chapel up there as well. The cypress trees all along the paths add to the charm.

If you want to explore more, there is a park which is a bit hidden and usually less busy than the few main tourist spots. It's called Parco Scherrer, and is filled with beautiful plants, statues and cosy corners in which to relax and enjoy the view. It's a magical place you'll always want to come back to. 

(Images: all by me)

One of the most haunting films I’ve seen at this year’s Zurich Film Festival is Never Rarely Sometimes Always. Director Eliza Hittman tells a very relevant and realistic story, which leaves an impact on its audience. It tells the tale of two girls travelling to New York to get an abortion, because the law does not allow the procedure where they live. besides being an intimate film about their relationship, it is also a that criticises the system, and is very current it its topics.

The protagonist is Autumn, a young girl from a small town in Pennsylvania. After finding out that she is pregnant without being in the situation to have a support system or even responsible father around, she starts to consider an abortion. With the help of her cousin Skylar, she decides to travel to New York, where she can get the help she needs - in contrast to her hometown in rural Pennsylvania. The trip turns out to hold many challenges in store for the two young travellers, who rely only on each other and the kindness of officials and strangers to deal with a very difficult situation. 

Many of the actors are either in their debut on the big screen, including Sidney Flanagan as Autumn, and some officials play themselves in their real life function. The atmosphere is incredibly intimate and realistic, which is certainly due to the wonderful young actresses and their chemistry. The script, written by director Eliza Hittman, gives room to the important moments of the plot, but also includes many quiet moments which build up realism and empathy with he characters. In contrast to other films dealing with the subject of teenage pregnancy and abortion, it does not fall into the melodramatic, but remains very raw and powerful throughout. 

Without preaching or openly criticising, the film discusses the situation of unplanned pregnancy in the USA, which is also a current topic in other countries. As filmmaker Eliza Hittman stated in an interview given during the film festival, she was also considering setting the story in other countries, but in the end decided it had to be America due to the situation there. Issues brought up are parental support and necessary consent, wanted and also unwanted intercourse among teenagers, abortion methods and the horrible alternatives to legal choices, financing of procedures, legal differences between states, several forms of harassment of teenage girls and many more.  Overall, this film makes a clear statement, showing a reality of a female world through the eyes of Autumn and Skylar, and in how many ways they are failed by the system and individuals. It also shows the strength and resourcefulness, though, and how their friendship and support can help them get through this difficult time. 

Never Rarely Sometimes Always will be shown in a premiere today, and then be shown in the regular programming from this Thursday on (in Zurich and all over Switzerland). Highly recommended to watch on the big screen.

Before being shown at the Zurich Film Festival, the film has already been shown at the festivals Sundance, Berlinale, and San Sebastian this year, and won critical acclaim and several awards.

(Images: IMDB/ Focus Features)

Since having won the Booker Prize in 2019 (along with Margaret Atwood), Anglo-Nigerian writer Bernardino Evaristo has been widely discussed and reviewed. Her novel Woman, Girl, Other is a wonderful modern book, showing a side of today's Britain which is not often read about.

At first glance, it's obvious that this is a special novel because it's use of punctuation is different from general conventions. This take some getting used to, but creates an interesting rhythm. At times, the sentences flow like in normal prose, but in some moments they are slowed down by the authors choice of spacing and punctuation. This sometimes creates a theatrical  atmosphere, and sometimes it seems even poetic. Some moments - just in terms of how they are written and how this underlines their meaning - are simply beautiful, and cannot fail to touch readers who love language and literature. 

Another unusual feature of this novel is the amount of protagonists. Evaristo's novel gives a voice to 12 protagonists, who are all female and to some extent related - either by family ties, friendship, work relations or such. This allows the author to show a large variety of worlds within Britain and also show some aspects as they were experienced and perceived by different generations. Generally speaking, the different characters all show some female destinies influenced by race, genre and sexual orientation, but also love, marriage, having children and other universal topics. 

While it is unusual to have a shifting point of view, there is enough to relate to in all portrayed women to feel connected to that this doesn't seem like something is amiss. The most surprising and enriching element of this change of protagonist is that the reader sees different perspectives. While it might happen that such things are revealed in dialogues in other books, it is rare to get to know one perspective and then switch to one of the supporting characters to find out about their - often contrasting - point of view. This creates not only humour but also deep insights into the dysfunctional relationships.

The main topics of the novel are all related to what it means to be a woman in Britain, both in the past and today. Some experiences by the protagonists are heartbreaking, others enraging; overall, they create a picture of a world that's full of difficulties, but also filled with humanity and love. Each reader might relate more to some characters than another reader, but it's hard to imagine that anyone can read this novel without emotion and empathy. 

Personally, I mainly related to the described issues of the female world, but also felt like I (who happens to be a non-British white heterosexual woman) got an insight into modern Britain, various racial backgrounds as well as the lesbian and transgender world which was unlike any I have read before. It definitely made me curious to read more of Bernardine Evaristo's work, and will shape my view of certain topics in British society, as few current books have managed to do.

(Images: by myself)

A beloved novel by master storyteller Charles Dickens is always a solid basis for an adaptation, as has been shown plenty of times. Most of his novels are not, however, as hilarious as The Personal History of David Copperfield, and therefore this film is very different from adaptations such as Great Expectations. It's the coming-of-age story of young David Copperfield, who experiences various living situations from poverty and wealth, all set in Victorian England.

The plot of the film is similar to that of the novel, and told in a chronological fashion, with the frame story of a grown David Copperfield telling his life's story. A few plot departures or simplifications are well carried out, as it is certainly impossible to fit an entire Victorian novel into a digestible film of normal cinema length. Without going into plot details for anybody who has not read the novel, it is as the film's tag line says a story of a journey from "from rags to riches...and back again". With topics such as the difficult life of orphans and poverty in general, which Dickens also discusses in some of his other novels such as Oliver Twist, this novel deals with important topics at the heart of society - then and now.

But beside some criticism of society and some people who abuse the system, this film focuses mainly on the eccentric and lovely set of characters, which are the heart of this story. In all phases of his adventurous life, David meets interesting people who shape his life - not only his mother and their maid Peggotty, but later on also his strict stepfather, his kind but unusual aunt and her relative Mr. Dick, his landlord Mr. Micawber and some friends he makes at work and at school. In this film adaptation, they are all shown in all their wonderful eccentricities and played by an ensemble cast of great actors such as Tilda Swinton, Hugh Laurie, Peter Capaldi, Ben Wishaw and many more. 

Besides the charming unusual characters, there are also some unusual elements to this film that make it more controversial. This starts with the casting of Dev Patel as David Copperfield, and an overall colourblind casting. This is already very normal on London stages, but not equally common on screen - another recent example being Mary Queen of Scots. Some viewers have seen this as strange and distracting, because it is sometimes not quite possible to have blood relatives with very different skin tones. Especially in historical films, this might be more unusual because society in Victorian England had a very different ethnic mixture than London nowadays; but I find it to be an interesting concept, and the actors are all very well cast based on their talent and performance. 

Overall, this is an entertaining comedy, focusing more on the humorous aspects of David Copperfield's life, while also managing to show some serious sides and including some touching moments. Not only for fans of Charles Dickens.   

(Note: this film has already been shown in the UK shortly before the pandemic, but has only been released more widely elsewhere now. )

(Images: IMDB)

The film Corpus Christi, originally titled Boze Cialo, has gotten some attention this winter after it was nominated for an Oscar in the category Best Foreign Language Film. In a very strong year, including masterpieces such as Parasite and Portrait de la jeune fille en feu, it did not win, but it is definitely worth watching. It will be shown in Swiss cinemas from today on (September 3rd), and will also be available more widely.

Corpus Christi looks like a film about religion when you see images of churches, processions and religious symbols. And to some extent, it is about religion of course, but also about so much more. Even if you’re not religious at all, this film is very relevant, because it is mainly about sin, redemption and forgiveness - topics well-known to all humans. 

The film follows a young man who is struggling while confined to a juvenile detention center. The only one who brings some positivity to the harsh place is the priest, who awakes the wish in Daniel to become a priest himself - an impossible wish, as felons are not admitted to the theological faculties. When he is released, he is supposed to work at a mill which employs felons, but through some unplanned events he ends up at church where someone needs to fill in for the sick priest.  Longing to fit into that world rather than remain among the tough guys at the mill, he blunders into an unusual situation. 

What’s amazing about this unconventional starting position (without telling more than even the trailer reveals) is what ends up happening to Daniel. He is thrown into a small town full of interesting characters, with plenty of mystery and unresolved issues among them. Besides some situational humour cased by the felon posing as a priest, there are some very real connections, and some surprising moments. 

The story is set in Poland, but could just as well take place anywhere else in the world in a small town. Polish cinema has not only produced great directors such as Kieslowski and Polanski, but hasmore recently also drawn a lot of attention in the cinematic world because of Pawel Pawlikowski (director of Oscar winner Ida and Oscar-nominated Cold War/Zimna Wojna). The director of Corpus Christi, Jan Komasa,  is another promise for future great films, and main actor Bartosz Bielenia has won several international awards for his magnetic performance. He lights up the screen and shown an incredible range of emotions in this role, and has an enormous potential (I was personally reminded of German actor August Diehl, which is certainly a compliment for a young actor).

Overall, this is European cinema at its best, which manages to combine realism with humour, and unexpected levels of depth. It is now shown in cinemas, and is definitely worth a trip there for a film which leaves a lasting impression.

(PS: for Zurich film fans: it is shown at RiffRaff from today on).

(Images: IMDB)

One of the essential Victorian writers, Thomas Hardy (1840-1928) is famous mainly for his novels nowadays, but also wrote a lot of poetry. Often dealing with themes of love and family as well as pressures of society and social position, his work gives an insightful view of Victorian England. While his earlier novels are more hopeful, his later work is often tragic and was also controversial, as he did not shy away from criticism of certain moral or legal standards of his time.

Hardy‘s novels are often long and complex, as many Victorian novels. These are some of his most popular, which are a good starting point if you’re planning to get to know his work:

Far From the Madding Crowd: The inspiring tale of Bathsheba Everdene, a young woman whose life changes drastically when she inherits a fortune and becomes the owner of a large farm with lands. She is ready to take on the challenge and has an independent will, but she does not remain a strong single woman for long, as she attracts the attention of several men. A wonderful novelfull ofmemorable characters and fates.

Tess of the D‘Urbervilles: The heroine Tess is a young girl whose family does not have much. When misfortune finds them, Tess is sent to distant relatives to ask for help, but is taken advantage of instead. She tries to move on on start over in a new place, but society does not forgive easily. A tragic novel with many twists and fateful events, which raises many questions about society at the time and is considered one of Hardy‘s most influential novels.

Jude the Obscure: The protagonist Jude is an orphaned boy who has an interest in pursuing a higher education, inspired by a teacher and mentor. He is not fortunate in life, however, especially with his romantic life. After a failed marriage, he gets into a relationship that causes his to become ostracized by society, leading to unimaginable hardships. A sad and unsettling novel, which caused many discussion in England, and a lot of opposition from the church.

Some of his other novels include Under the Greenwood Tree, A Pair of Blue Eyes, Two on a Tower and The Mayor of Casterbridge, which are all worth reading as well. Afterthecontroversy around his later books, he continued to write only poetry.

There are several great film adaptations which can give an insight into Hardy’s world. Especially the adaptation of Far From the Madding Crowd (by Thomas Vinterberg, with Carey Mulligan, Matthias Schoenaerts and Michael Sheen) is very well-shot with a great cast.

The closure of cinemas has delayed the release of this film, but has also hyped up expectations. After films such as Inception, Interstellar and Dunkirk, the film community is excited every time director Christopher Nolan is sharing one of his visions with the world. This was no different for the thriller Tenet, which has now been released in some countries and is one of the first big films to be widely played since the cinema lockdown. In this spoiler-free review, find out why you should also go see it on the big screen.

Tenet has everything a blockbuster needs: a renowned director, amazing cast and crew, an intriguing premise shown in the trailer, which make the audience wonder what kind of unusual thing might happen in this film. The film keeps all the promises of the hype, and more. While some extreme Nolan fans and cinema fans thought compared it to some other of his films and expressed mild disappointment, I cannot share that view. On its own, as a feature film, it is extraordinary on many levels. 

The plot (as far as is already outlined in the trailer, without revealing more) is centred on a nameless protagonist, who is on a dangerous mission. He is given the word "Tenet" as a way of establishing contact with allies, in order to - as in many films - save the world from some form of threat. There is definitely a parallel to Bond films in some plot elements as well as settings, and other films of the secret agent genre. (Especially The Night Manager based on John Le Carré's novel comes to mind, not only because actress Elizabeth Debicki stars in both). But within that genre, Tenet is unusual because it also adds a very different dimension.

As is visible already in the trailer, there is an unusual concept of time in the world of Tenet. Comparisons to Inception are of course being made, even if the concept is very different. In my opinion, it is equally amazing and very well carried out. The visuals and attention to detail are stunning, and often leave the audience speechless. The premise of the film is so unique, that it will give movie goers plenty to see and think, and many will doubtlessly watch it several times to be able to appreciate all the details.

Besides just the main concept and writing of the film, there are several other aspects worth noting. The music was written by composer Ludwig Göransson, who is known for his Oscar-winning score of Black Panther, and several other collaborations with director Ryan Coogler. He replaced composer Hans Zimmer who has often worked with Nolan (because Zimmer was occupied with another highly anticipated film, Dune), and created a fantastic score which leaves you on the edge of your seat (in a way that reminded me of Sicario). In addition, the performances are just stunning, with John David Washington leading the cast, proving for the second time since BlacKkKlansman that he can carry a big production. The rest of the main roles are filled with Robert Pattinson, Kenneth Branagh and Elizabeth Debicki, all delivering convincing performances with some exceptional moments; in the supporting cast, Michael Caine is present as usual with Nolan, as well as Aaron Taylor Johnson, Himesh Patel, Clémence Poésy and Dimple Kapadia.

Overall, this is certainly a film you should go see in cinemas as soon as possible. Besides just being a great piece of cinema, it is worth watching early to avoid spoilers which are inevitable, and to be able to see it with a large screen and a great audio system. On top of that, cinemas have suffered during the pandemic like most other businesses, and are glad to receive audiences again - obviously following all necessary safety guidelines.

(Images: IMDB)

The story of the Italian-American families who once ruled New York and spread fear are well-known, and glorified in numerous mafia feature films. This documentary series reveals the details of the real families, the FBI agents involved in their takedown and the lawyers who brought them to justice. Gripping and well-shot.

The fascination of the mafia has been a part of popular culture, especially driven by novels and films such as Mario Puzo's The Godfather. The violence and ruthlessness of mafia power is often shown from a perspective that makes is more acceptable, leading to mafia bosses being (at least partly) admired and humanised. In reality, of course, many people involved in mafia structures deserve very little sympathy, as is shown in this new documentary series.

The documentary series Fear City: New York vs. the Mafia was produced by Netflix and released in the summer of 2020. It chronologically retells the events of the 1980s, when the influence of the mafia was at its height, and law enforcement finally found a meaningful legal way to take the heads of the families down for good. The historical footage from surveillance and news is very interesting, but it is the retelling of involved people that makes the story really come to life. The people involved in the documentary range from lawyers and FBI agents to mob associates, showing the different perspectives and retelling their own involvement. As surveillance and bugging were the main methods used to collect evidence, there is a stunning collection of soundbites and photographic evidence of meetings, some of which has never been released before. 

An interesting element from today's perspective is also the involvement of the mafia in the construction business in New York. Among the people shown in the real estate business at the time is also Donald Trump, who has - as many others - also profited in the years when large construction sites were omnipresent in the streets of Manhattan. And even more involved in the entire story is another prominent Republican figure, Rudy Giuliani. He is shown both in historical footage and in new interviews, detailing his role in the legal side of events, as he was district attorney at the time. 

Overall, this documentary series is interesting for audiences who want to know more about the history of New York, and who are interested in crime stories. For fans of mafia films and series such as Goodfellas, The Sopranos, Casino, Boardwalk Empire, Once Upon a Time in America, The Irishman etc., this series provides an interesting background.

A book which is entertaining and enjoyable to read, while at the same time also discussing deep, controversial topics in an unconventional way - Drive Your Plough over the Bones of the Dead combines both. The title, which admittedly is quite a mouthful, is taken from a poem by William Blake, whose work plays an important role in the novel.

After Olga Tokarczuk won the Nobel Prize for Literature in 2018, I was curious to read some translations of her work. It was not easy to obtain, a situation that will no doubt be improved in future years, so I was not able to choose freely from all her work. I first tried Flights (Bieguni in Polish, in German titled Unrast), but gave up at some point because I didn’t get into the novel at all (which happens extremely rarely to me). But then I found this novel in an English translation when I visited Poland, and decided to give it a try (the original title is Prowadzswój pług przez kosci umarłych, while the German title is Der Gesang der Fledermäuse, which is not a literal translation in any way). I did not regret that choice for a second.

The protagonist of the novel is an elderly woman, Janina Duzsejko, who lives alone in a remote village in the Polish mountains, close to the Czech border. She spends some of her time teaching English, and also looks after the houses of part-time residents in the area. It seems like her connection with her books and house is much closer than with most pople around her, with the exception of a few close friends. In addition, she cares about nature and has a deep interest and protective instinct over animals, which causes her to clash with some neighbours and hunters in the area. This unusual protagonist, living at the marginalised edge of society but revealing her charming eccentricities to the reader, was compelling enough for me to get hooked.

The plot, however, is just as interesting as the setting and the protagonist, and rather unusual for a critically acclaimed author of this  caliber - it is essentially a crime story, but also so much more. Without wanting to reveal too much, the action revolved around several incidents in which men disappear and are found dead in this area. The police is investigating, and the neighbours are starting to wonder what might be happening - some signs seem to point to animals having been involved in the deaths. The mysterious case unfolds and keeps the reader guessing.

As a reader who has some knowledge of the Polish geography, language und culture, I found some of these elements to be very entertaining - for example when Janina is commenting on the different characters of the Czech and Polish languages. Being an outsider to society, this protagonist is not afraid to challenge the authorities and some conventions in her country, which is very interesting from a perspective of someone abroad, but has also caused quite an uproar in Poland. This only goes to show the bravery not only of the character, but also the author, who are both not afraid to bring up difficult subjects and unpopular opinions.

Overall, this novel is highly enjoyable, especially if you find some joy in crime fiction, literature and eccentric heroines.

PS: The poetry of Blake is used and referenced regularly throughout the novel, including with two lines being added in the beginning of every chapter. So while this is not an English work of literature but a translation, there  are many connections to English literature to be found, in the best possible way.

Director Francois Ozon has long been a favourite of mine, having created masterpieces such as 8 femmes or 5x2. His new film Été 85 was supposed to be shown at the film festival in Cannes this summer, but has now been brought to cinemas faster because of the pandemic. The film tells the complex story of a teenager in Normandy, who falls in love with an older boy and experiences deep emotions.

Été 85 is based on a young adult novel by the name of Dance on my Grave by English writer Aidan Chambers.  The names have been changed and the action moved to France in the film adaptation, while otherwise staying rather close to the novel. It is the summer of 85, and life is pretty easy for the young people living at the French coast of Normandy: swimming, taking their boats, enjoying time with friends are on the agenda. But the life of Alexis, the protagonist wonderfully portrayed by young actor Félix Lefebvre, is about to change forever.

It is clear from the beginning that this not a simple story of young happy love, as the story is told from two separate timelines which  alternate. This narrative structure creates an interesting tension, and supports the good pacing of the film. The atmosphere and storyline is at times bringing up memories of the wonderful Call Me by Your Name by Luca Guadagnino, which can only be seen as a compliment. The similarities do not go deep, however, and the plot develops into a very different direction. 

What this charming French film has in common with its Italian counterpart of a love story between two young men in the 80ies is this: both films have a fresh, very talented protagonist, and a set of experienced actors in meaningful supporting roles. In Été 85, the lovely Valeria Bruni Tedeschi gives a funny and tragic performance at the same time, and Isabelle Nanty and Melvil Poupaud add some deep scenes. Benjamin Voisin and Philippine Velge play the two other larger roles oft he younger generation convincingly.

Besides having a wonderful set of actors, Ozon is also showing his skills in his use of music, which is - as in every film - stunning. Especially two moments in the film are magical, and they involve music. As already in other productions, Ozon finds a balance between humour and tragedy, and manages to bring some very profound and meaningful moments to the screen. A must watch in my opinion, which is both enjoyable to watch and memorable overall.

The icy giants in the mountains hold an irresistible lure, even more so in times when we watch them melt a bit more every year. I personally have had many glacier adventures on several glaciers, in Switzerland and abroad, and have always enjoyed them while also keeping plenty of respect. Recently, I revisited one of the most spectacular glaciers in the Alps, which is also the largest one: the Aletsch glacier. 

On this trip, I didn't actually step onto the glacier, but rather enjoyed views of it while hiking alongside it. Its beauty is magical, and really makes one think about the perishability of the icy areas in our mountains. As with many other Swiss glaciers such as the Morteratsch or Gorner glacier, you can see the changes very well, and see the areas in which there used to be ice but which now lay bare. 

This glacier lies in the Valais, and is visible from several peaks that are accessible by cable car, which makes it a popular tourist destination. The hike we took was from Bettmerhorn to Fiescheralp, allowing hikers to have great views of the glacier all along, while not needing to overcome any extreme ascent or descent. A beautiful area of the alps, which is always worth coming back to.

(Images: all taken by me)

The film Waves has been shown in 2019 at several film festival, and received critical acclaim. Now it is being released in some countries, so that it's possible for a wider audience to see it where cinemas have reopened. It tells a family story in Florida, which is deeply moving and a magical visual experience.

Waves is only the third full-length film by young director Trey Edward Shults, and has received critical acclaim. For me (and doubtlessly for others too), this film was automatically on my watch list because of actor Sterling K. Brown. Having delivered stunning performances on TV for years and getting more roles on the big screen as well, his name has begun to receive increasing attention. Until now, he has won a Golden Globe and an Emmy, and garnered countless nominations for his roles in American Crime Story and This Is Us. 

In Waves, Sterling K. Brown once again plays an intense and conflicted character. He is the father of two in a Floridian family, who has high expectations and rules his household with an iron fist. His children, Emily and Tyler, are teenagers busy with their own issues such as relationships, school and ambitions in sports. When Tyler gets into a difficult situation, the lives of all family members changes forever. The characters are vividly shown in all their complexities, and the script includes several surprises which are very well executed. 

The strengths of the film are the beautiful cinematography with wonderful colors and unusual shots, and the performances of all actors. The young generation shines, with Emily and Tyler being portrayed by Taylor Russell and Kelvin Harrison Jr, as well as Lucas Hedges and Alexa Demie as other teenagers. The parents, Renée Elise Goldberg and Sterling K. Brown, add to the number of touching performances. 

Overall, this is a film which is not easy to watch because of the intense content, but it’s very rewarding. Several elements are reminiscent of Moonlight (2016), from the Southern American world to some artistic choices to the emotional content; which is definitely a compliment to Waves.

This wonderful novel by Colm Toibin embodies the start of America and the history of Brooklyn’s development like no other. It tells the story of an Irish girl immigrating to the USA in the 1950s. Besides being a successful and utterly engrossing novel, it is also the basis for a film shot in 2015. 

Eilis Lacey is a young Irish woman living in a small town in the 1950s, and is pushed towards new opportunities in America when she doesn’t find work in her hometown. Her tale of finding herself in Brooklyn and getting to know other residents, as well as returning at some point to her native Ireland and comparing her options, is beautifully written and enjoyable, as Eilis is an interesting character giving plenty of life to the story.

The fascination of the book lies, at least for me, in the foundation of the world we now know to be Brooklyn and America in general. The immigration of the Irish to the American east coast is told from an interesting perspective, including also characters of Italian descent and touching upon the topic of the Jewish community and race in America at the time. The actual living circumstances of immigrants, both at home and then after migrating, is described in a touching way without judging, including also topics such as tricks when entering Ellis Island, homesickness, the struggle to find companionship abroad and more. While history books are often very dry on these subjects, and many films and books deal rather with the crime world of Irish and Italian families than with people working their way up in legal ways. Brooklyn fills this gap in a wonderful way.

This book has been on my reading list for some years (and has been every bit as enjoyable as expected) because the film of the game name (directed in 2015 by John Crowley from a screenplay by Nick Hornby) is so lovely. It might not be the most life-changing film, but it has a very special charm. It is very close to the novel, taking very few liberties only, which are fitting. Eilis is played by Irish actress Saoirse Ronan, who delivers a beautiful performance, bringing her nominations for several big awards including an Oscar nomination. Other main cast include Emory Cohen, Dohmnall Gleeson, Jim Broadbent, Julie Walters, Jessica Paré and Michael Zegen. The film brings to life both the Ireland and the Brooklyn of the 1950s with plenty of attention to detail and stunning costumes. If you want to have the faster experience, watch the film - in my opinion, both book and film are equally charming and very fitting for a summer reading or an enjoyable movie night.

One of the most widely discussed novels of recent years, this has been on my reading list for a while. Little Fires Everywhere (2017) by Celeste Ng is a novel about two very different women and their families, set in a suburb in Ohio. It goes far beyond an entertaining novel about gossip, friendship and family life, though, and has received plenty of attention for a reason.

The main element that I admire in this novel (without going too far into plot spoilers) are the way the topics of motherhood and stereotypes are addressed. Far from being one-sided or biased, Celeste Ng explores a variety of perspectives in a clever way, and provides insightful description related to several characters with very different views and backgrounds. This creates a setting in which worlds collide, and which forces the reader to take sides in unexpected ways. As it also addresses stereotypes and heritage in relation to both African Americans and Asian Americans, it rings true regarding many essential issues of society. Overall it’s very well-written, and takes the reader on an emotional rollercoaster which is at the same time entertaining and far-reaching.

This novel has also caused a lot of buzz when it was picked up by actress and producer Reese Witherspoon for her book club, and for a television series by HULU (2020). Its reviews are favorable and it is definitely on my watch list; update to follow when I’ve had a chance to watch it. Below some images from the series, starring Reese Witherspoon and Kerry Washington in the leading roles, as well as Jesse Williams, Joshua Jackson, Rosemary deWitt and Anika Noni Rose and numerous young actresses and actors.

(Images: myself & HULU)

One of the few new films to reach European cinemas this summer is Arab Blues, originally titled Un divan à Tunis (A Sofa in Tunis). It is a charming French-Tunisian comedy which tells the story of a young woman, who moves to Tunisia from Paris to open a psychotherapy practice.

Selma left Tunisia when she was a child and lived in Paris for many years, leaving her with a longing and curiosity for her country of origin. As she has to find out, she is also unprepared for some cultural differences and administrative hurdles. This creates many comedic elements, which might at times be stereotypical, but often charming and unexpected. 

While the protagonist Selma is very beautiful to look at, she does not often share her feelings with the audience, but remains cool and chic most of the time. The other characters - her family, patients and officials - on the other hand, are a wonderful collection of emotional and colorful individuals. They add to the quirky charm of this film, which includes not only funny but also very deep moments. It certainly does not only make the audience laugh but also reflect on questions of identity, nationality and mental health. A worthwhile experience.

Coming to cinemas in most countries now, for example to Riffraff in Zurich. Premiere on Sunday with a Sneaky Sunday screening.

Having been nominated by a friend to take part in the cinema challenge initiated by Zurich Film Festival (ZFF), here are some of my thoughts and memories related to the cinema. The idea of the challenge is to  reminisce about influential cinema visits in our lives, and therefore draw attention to the cinemas which need our support after the enforced closures.

Having been raised without a TV but with plenty of books in our household, I did not regularly watch films as a child. Having seen only very few cartoon films at some playmates‘ houses until then, I remember going to the cinema for the first time at age 6 for the birthday party of a friend. We watched the Disney film Aladdin, which I guess was perfectly age-appropriate for a group of kids our age, accompanied by a dad. 

When I experienced the magic of cinema for the first time, sitting in the dark with my friends, I was mesmerized by what I saw on screen. I was also, however, bewildered by how this screen version of Aladdin was so different from how I had imagined it in my mind, knowing the fairy tale which it is based upon. This was my first moment of (then, unconsciously) comparing a written source to the adaptation, something which I would go on to do countless times as a students of both literature and film.

My bewilderment even went far enough that I didn’t even sit through the entire film, but left the cinema earlier. I don’t recall in detail whether I was afraid of the genie or Jafar or just perplexed by the story that was coming to life before my eyes. Since then, I don’t think a I’ve ever left the cinema again, but rather spent countless happy hours in them. Even when watching films on TV I hardly ever not finish a film, even if it’s not fully enjoyable. I believe that’s a habit I picked up during film studies, when I learned to sit through some items of film history that were at times so creative and brave that it was puzzling or even revolting. But I’ve also come to embrace finishing films that do not overwhelm me in the beginning, because they might be getting better and only start making sense at the end. Having watched all essential old French, Italian and Spanish films, as well as German ones (including now forbidden ones including propaganda), I am pretty much able to watch anything and find some kind of artistic or content-related value in it.

Besides regular cinema visits, in my hometown and wherever I travel, I have also been shaped by screenings at film festivals and open air cinemas. Attending open air cinemas at various locations at lakes, in the forest and on squares in the city is an important cultural event every summer, which I have enjoyed since childhood. I have always enjoyed surprise nights, during which a premiere was shown without knowing beforehand which one it would be. But also outdoor screenings of well-known and beloved classics on a warm summer night always hold a special kind of magic, for example watching old classics such as Once Upon a Time in the West with some wine at Lake Geneva. 

During film festivals, I have watched numerous films before they came to cinemas, with filmmakers and cast members present to talk about their work. This additional information and excitement has added to my love of films, and has led me to watch more films every year (especially at my home town festival, Zurich Film Festival, and the Locarno Film Festival a few hours from here). Having had the opportunity to attend talks and award ceremonies was insightful, with creatives such as Alejandro Gonzalez Innaritu, Pawel Pawlikowski, Aaron Sorkin, Olivier Assayas, Lulu Wang and more; as well as actors like Johnny Depp, Woody Harrelson, Uma Thurman, Peter Fonda, Diane Keaton, Harrison Ford, Viggo Mortensen, Judi Dench and many more. Attending special screenings at film festivals and open air cinemas has definitely added to my fascination of the cinema.

Overall, my love of films and cinema has definitely grown since first watching a Disney film in cinemas. Especially in this recent time of cinema closures because of the corona virus, I missed it a lot - the moment when the lights go off, the smell of popcorn, the magic of experiencing some adventures together while sitting in the dark and watching the same events unfold. When cinemas reopened in Switzerland, I went with one of my main cinema-buddies to the very first screening available, the lunch cinema screening. It was lovely to be welcomed back by the cinema director, and to be surrounded by other cinema lovers again. Since then, I've made a point of going to the cinema as often as possible, to support local cinemas and to continue my love for the cinema.

(Images: ZFF, Locarno Festival, Allianzkino, IMDB)

In recent years, Florence Pugh (*1996) has broken out as one of the young actresses to watch. The young English woman has worked with highly respected directors and actors, and taken on roles that are challenging and inspiring. Here is a look at some of her greatest performances so far, which indicate a promising future.

One of Florence Pugh's first leading roles was in Lady Macbeth (2016), an adaptation of  a Russian novella called "Lady Macbeth of the Mtsensk District" by Nikolai Leskov. The story has some similarities with Shakespeare's Lady Macbeth, which accounts for the title. The protagonist is a young girl who is married off into a cruel family, but starts to understand what she wants and how to get in in time. Pugh's performance is stunning, showing the different elements of this complex character and her extraordinary development. The film also has an exceptional cinematography and overall a wonderful setting, which makes it really worth watching besides Florence Pugh's performance.

A more recent production, which has garnered Pugh a lot of positive attention, is the adaptation of the classic novel Little Women (2019) by screenwriter and director Greta Gerwig. Because of Gerwig‘s writing and Pugh‘s nuanced performance, the character of Amy March has been greatly elevated from a somewhat childish and selfish character to an audience favorite. Her work also got her a nomination for the best supporting actress at the 2020 Oscars. (More on this film in the blog posts on Period Dramas and Greta Gerwig.)

Other notable performances include King Lear (2018), The Little Drummer Girl (2018) and Midsommar (2019). Pugh‘s film and role selection has been stellar so far, and after her Oscar nomination for Little Women, the offers will most like continue to arrive. She is starring in the upcoming film Black Widow, and is working on the new project of director Olivia Wilde, who had a successful start as a director with Booksmart. Florence Pugh's future certainly looks bright, and will be interesting to watch. 

(Images: IMDB)

This film has intrigued me so much from its trailer that I was keen on seeing it in cinemas as soon as possible. It premiered in Cannes in 2019 and is shown in cinemas this year. Palestinian films are rare in general, and therefore all the more intriguing. It Must Be Heaven is a masterpiece, which is visually stunning, thematically current and overall at the same time entertaining and thoughtful.

The basis is rather simple and quite autobiographical: Elia Suleiman, who is the director, screenwriter and protagonist of his film, travels the world to find financial support for his film, a comedy set in Palestine. In three chapters, set in Palestine, Paris and New York, some everyday occurrences are shown, that illustrate typical incidents of the country with plenty of humour and some criticism. The similarities and contrasts of the countries and cultures are at the center of the film, shown without open judgement but rather through the wondering and often bemused eyes of the protagonist.

This film will make you smile and chuckle, but also think. One of the most interesting and creative films I've watched in recent years, which I can highly recommend to all film lovers.

(Note: I have found myself reminded of the film The Square (see post on funny films), which has a similar humour in some ways. While The Square rather deals with the art world and modern society in general, It Must Be Heaven has a bit more of a focus on authority, military and police forces, as well as women's rights. But both show some unexpected humour while also using absurd moments to draw attention to grievances in society.)

As is visible in these few pictures which have so far been released, the cinematography is stunning. Some interesting symbols used throughout the film are birds, in the shape of the sparrow visible in one of the images, but also including many pigeons and other birds. The symmetries are often beautiful but also funny, as the picture with the four police officers shows. More symmetries and some humorous moments can be seen in the trailer below:

(In Swiss cinemas now, in Zurich in Arena and RiffRaff.)

(Images: IMDB)

A Belgian director with plenty of talent, Michaël Roskam (*1972) has worked mainly with French-speaking actors. He has, however, also created a successful international production, and managed to keep his high level throughout his oeuvre, in all languages. His style and imagery is very unique, making his artistry very distinctive. 

The most important films in his oeuvre are these three, which I can all highly recommend:

Bullhead (2011) (Oscar nominee for best foreign feature film, original title: Rundskop)

The Drop (2014) (several awards at film festivals)

Le Fidèle (2017) (internationally known as: Racer and the Jailbird, several awards at film festivals)

The choice of actors he works with is outstanding, from Belgian actor Matthias Schoenaerts (in all 3 films) to talents such as Adèle Exarchopoulos (La vie d'Adèle), Noomi Rapace (The Girl with the Dragon Tattoo) or established actor such as Tom Hardy and James Gandolfini. 

(Special recommendation of more films with Matthias Schoenaerts here.)

All films feature a dark and rather somber atmosphere, which is shown in beautiful cinematography, often with film noir-like elements. His characters are often ill-fitted to the world around them, and have suffered hardships from childhood on, leaving them distrustful and serious, but not without hope. Some moments in his films are somewhat rough, but never just for a cheap effect. In some moments in his films, Roskam has managed to create beauty which is almost poetic. In the following, here are some images from all three films to show some of the visuals.

(Images: IMDB)

An essential documentary nowadays, which combines many important elements of the racial debate in America. Created in 2016 by filmmaker Raoul Peck, it deals with the view of renowned novelist and activist James Baldwin, who set out to create a manuscript about the deaths of three of his friends: Martin Luther King Jr., Malcolm X and Medgar Evers.

The documentary is well-constructed of archival footage of the three men and Baldwin himself, with Baldwin's written words in a voiceover as a main narrative. This film is shedding light on an insightful perspective, namely of a person who was both a personally involved human being, but also a leading intellectual of his time. It is very educational but also inspiring, heartbreaking, and thought-provoking.

This documentary is currently available for free on the Swiss TV page SRF, from now on for a month. (link here)

English version with German subtitles.

(Images: IMDB)