eduardo-luiz-s06

Perhaps the greatest merit of this series was to have brought in Colin Firth to play Michel Peterson. Among several hypotheses, he is the one who holds the theory that the protagonist is not really to blame for the murder of his wife. Sometimes, however, the series also supports Michael's theory of innocence in the justice system's fairness.

There are four theories here:

1# Kathleen has fallen down the stairs two or more times: the way this is filmed, as much as it may seem real, looks pretty artificial.

2# Michael killed his wife: although shocking, it is the most realistic and plausible. Perhaps the reason for the onset of violence is never revealed, but this act is the most acceptable.

3# An owl attacked Kathleen: basically explores the impossible. There may be a lot of material on the internet, but just out of curiosity for the hypothesis.

4# The prosecution would have hidden/forged evidence (not filmed): there is evidence that the prosecution was indeed corrupt. But there has to be a lot of conspiracy behind this case before this theory is said to be true.

Personally, I believe that there is no doubt that Michael Peterson murdered his wife, but the series explores the contradiction of (maybe you) not being so sure of it.

One day The Underground Railroad will be considered one of the greatest TV shows ever made.

It is a portrait of pain, wickedness, and hopelessness.

Not all episodes are great, but those that are will touch your heart in ways you've never felt.

Amour is a film that should win, with all fairness and merit, all the awards that reward the best of the year. Although not for a blockbuster-seductive audience, Haneke's masterpiece is far from dramatic or mellow as thousands of films treat the subject of dying, here the Austrian director sometimes puts the subject literally aside converse of things. Early on Amour shows his concern at inconclusively leaving the proposals - seemingly main - aside, practically expelling them so that the public manipulates the 'logical' side of things. Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) give us the characters beyond the most realistic and palpable 80 years of the history of the cinema, both enter not in dilemmas of morality in the film, being that Georges should take care of his wife Anne after an attack that leaves her weakened, but enter into the part where 'life is life', and love may have different contours than one thinks to become real.