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It opens underwater, with what appears, at first, like a shipwreck. Then we see blinds on the window and floating table-lamps as chairs bob harmlessly around a table, as if a slow poltergeist were at play. It is not we who have gone to a world below water but water itself that has - miraculously - been poured over our world.
At 86 years old, Costa-Gavras hasn't lost any of his bite or humanistic political convictions, brilliantly shown many times throughout his prolific filmmaking career, from The Confession to Amen and with Missingas well as Zwhich got five nominations and two awards at the Oscars and denounced the dictatorship of colonels in Greece. Far from naive he always carries his resignation letter in his pocket and aware that his opponents will not be easy to deal with, he nevertheless hopes to find a compromise and persuade them. From a material which could have been particularly dry numbers, men in suits around big meeting tables, etc.
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With its grandiose set design, bold swaths of color, magical special effects, and award-winning, international cast, the sequel Maleficent: Mistress of Evil tries to rectify the situation. The sequel is a wise tale that slyly or not so slyly points at our need for unity, acceptance, and taking care of our environment. Maleficent is a fairytale loosely based on Sleeping Beauty and a young fairy woman played by Angelina Jolie who lives there.
The film is a platonic love story about two life long best friends struggling to keep their friendship together as their lives head in different directions. The film follows two best friends in their final year of college while they transition into adulthood. One embraces her sexuality and tries to catch up on everything she has missed during her teenage years, while the other ends a long term relationship with her boyfriend and discovers her life isn't going as planned.
Events here barely feel dramatized at all, let alone to the point that anyone kills his father or sleeps with his mother. Apart from Yanis, whose thinly sketched wife is played in a handful of scenes by the ubiquitous Valeria Golinodo any of these gray men in beige conference rooms even have mothers or fathers or lives external to these interminable meetings? Instead these characters, whose basis on real people provides only an initial glimmer of interest, and then only for the more dedicated EU governance groupie, mostly act as repositories for intricate, stonewalling arguments of escalating callousness, to which Varoufakis can respond with correspondingly escalating integrity the script was based on his book, and on time the veteran Greek-French director spent discussing the project at his house.