svozil-706-642770

... if you are interested in UFOs and if you like Hartley and DeLonge's Sekret Machines books! Because if you do, you will experience an ontological shock of a lifetime!

I could not believe how dilettante this movie was in so many respects. The story is inconsistent, implausible, self-contradictory, and lacks any subtlety. It's as if a ten-year-old tried to deliver a message.

Indeed, after about thirty minutes, I started to seriously ask myself whether this is a parody of Close Encounters of the Third Kind, Independence Day, or something similar.

I have listened to many of DeLonge's interviews (e.g., by Knapp on Coast-to-Coast), and the "message" DeLonge delivered there is in stark contrast to what happens in this movie. For your own sake, I suggest you reread Hartley and DeLonge's Sekret Machines one more time insted.

I was initially drawn to this movie due to the captivating presence of its lead actress, Hannah Hoekstra. I was eager to witness her expressions, gestures, and overall beauty. I must confess that my initial impression only grew stronger as the movie unfolded. Hoekstra's appearance in the later segments of the film exuded a subtle yet profoundly captivating allure. Her portrayal was more sophisticated and impressive than any computer-generated or artificial intelligence-based character I've encountered before. Could the secret to this appeal be in her nuanced lip movements? It's akin to Hitchcock's observation that even the tiniest rearrangements of reality can evoke profound horror.

Admittedly, a few minutes into the movie, I found myself somewhat put off by the gratuitous nudity on display. However, this initial discomfort gradually transformed into a sense of fulfillment as the acting unfolded. The movie grapples with a challenging subject matter, so viewers should persevere through these scenes to grasp the narrative's essence.

As I delved deeper, I discovered that the director is Sacha Polak, a woman. This aspect is noteworthy as it's crucial that these delicate themes receive representation from women "behind the scenes," countering the multitude of male-driven fantasies prevalent in cinema. I can't help but wonder how much of the director's own experiences are interwoven into this film.

In conclusion, I wholeheartedly recommend this movie to a mature audience.

The plot has too many dramaturgic twists to be consistent. In particular, the end appears construed. It feels like a rollercoaster ride. There are too many turns that cannot be tied together into a consistent narrative. This may leave you almost betrayed by the story.

And yet it is entertaining and thought-provoking; so I gave it a five of ten.

But beware: you might feel betrayed at the end.

Somehow related to this, in the Rosenhan experiment the validity of psychiatric diagnosis was tested. It was conducted by a Stanford University professor, and published by the journal "Science" under the title "On Being Sane in Insane Places" in 1973. The alleged "patients" simulated hallucinations to enter psychiatric clinics. They acted normally afterwards. The great majority of those persons were diagnosed to mentally sick by the mental hospitals.

Maybe I grew older and more spoiled ... but I had troubles completing this movie.

They could produce the same story by just compressing it to half of its length. But even then it would not be entertaining. The level of this movie is that of a mid-level TV movie production; only with more expensive effects and posh locations.

Hope the next will be better!

... is described here in full consequence.

In attempting to understand the many negative ratings and reviews I might come up with very personal reasons, oftentimes suppression of desires. So, if you are expecting to have similar issues I cannot recommend watching this movie.

For others, it gives a foresight into a world of loneliness that will be augmented or even resolved by thinking machines.

The narrative serves all prejudices of the noble indigenous population; mostly smiling, never after your money and belongings.

Having travelled myself a bit along similar routes in Africa (with various cars) I am amazed how uniformly friendly the locals reacted.

But I guess, if you are driven by insatiable "Fernweh" then these images serve you well.

My guess is that Michael Glawogger's "Untitled" (2017, edited by Monika Willi) ---he died during his African trip---may be much more realistic, but maybe less entertaining.

Already early in the first episode a fake document -- the "Mandate 0463" is presented as if it were factual. This discredits the series' claim of being based on actual events to the bone.

It also discredits the rather prominent researchers performing in this "disinfotainment". I can only speculate why they would take part in such an enterprise---maybe because of money, attention, or even to misinform the interested public? To quote a former director of a three-letter agency: "We'll know our disinformation program is complete when everything the American public believes is false."

My greatest respect for this very sensible story, for the dramaturgy, and for reminding me of the silent perseverence of love! The lead actress, Natasa Stork, is just brilliant and lovely; excellent choice!

This documentary might be interesting from a French point of view, as it contains long passages with French functionaries.

What was new to me was that many of the "disclosures" of the past years might actually prepare us for, and be the precursor to a "big final disclosure" in the not too distant future.

Small glitches were made wrt confusions of the "pentagon videos" in the beginning, but they are of no importance to the content. Nice interviews with former Senator Reid, as well as with Harvard University Professor Abraham Loeb (although I doubt that the object called Oumuamua represents alien technology---it simply might be "too dumb" for that), as well as many Frech experts who say very reasonable things.

Btw, I always wondered why UFO/UAP/AAPs allegedly crash so often on Earth, leaving debris behind, but who am I to judge?

The movie is stunning, both in its dramaturgy as well as in its philosophical depth ("Tiefgang"). -- A masterpiece! Almost forgotten and in German, a "Nachkriegsfilm", financed by public TV in Western Germany.

This gem changed the way I was thinking about the so-called "UFO-phenomenon". If you can get hold of a copy of it (hopefully with subtitles if you cannot understand German), and into the broader perspective, then try it.

A word of caution though: the movie itself is not an action movie but is delivered as a rather dry and "boring" mockumentary. If you are not into thought provoking stuff you might be disappointed.

Avoid watching it -- it contains too many inconsistent twists and lacks coherence. The story is meagre and boring. What a crappy production!

Being a physicist myself I increasingly got frustrated with the plot -- to the point when I became angry. The story is ridiculous and inconsistent. If you want to be entertained by some action scenes stop watching after 35 minutes.... or go on a little bit longer if you enjoy the looks of the main very slim actress (which I did). Don't waste an additional two hours of your lifetime to watch any further; you will most certainly regret this.

.... the feeling that everything you do is somehow twisted into being totally wrong; the entitlement, the complete lack of comprehension on the partner's side... to the point that even physical violence appears justified to her.

If this is autobiographical then I do not envy the writer: his mother must have been a manipulative personality on the verge of psychopathic narcissism. A great study of a not-so-seldom phenomenon; even more so as it is deeply against mainstream feminist presentations of female characters.

Unlike most reviews that seem to be expressing some hope, I believe there is no chance this choreography could, in real life, go on forever. Actually, I believe that, as expressed by Céline, this summer in Greece would mark the beginning of the end of their relationship. This is even more depressing, as the brilliant, gorgeous Greek light shines on them.

The epic dramaturgy - as compared to the classical dramaturgy of the previous "Before Sunrise/Sunset" movies dominated by romantic love - exposed in this brilliant film is about the two characters getting somewhat tired of each other, slaving to their kids, and coping with the onset of aging.

In such a situation, certain "pathologies" increasingly express themselves. In this case, it is Céline's almost hysterical, childish reactions to Jesse's desperation of having, for all practical purposes, to abandon his son; and her unwise lack of humility with which she is willing to abandon everything.

Almost brutally the trio Delpy/Hawke/Linklater exposes Céline's acquisition of body weight, associated with becoming less physically attractive -- to be sure, Céline is still more attractive than most women of her generation, but not as eye-catching and mind-boggling as before. Céline's reaction to "becoming a fatty" (remember her remark in the 2nd, Sunset, movie?) is an aggressive stance toward Jesse. Jesse, on the other hand, is still very tied to, and co-dependent on Céline, and tries hard to fix their relationship with creativity. But he inevitably and ultimately must fail, at least outside of a movie setup.

Unfortunately there is no way of fixing Jesse and Céline's relationship unless Céline improves her body mass index, and reacts more humbly and less hysterical. Alas, at least in real life, this is very unlikely to happen.

So, I am afraid, in the next sequel - if this team continues in some configuration - we might see Jesse and Céline coping with their separation, and with increasing age and desperation - and ultimately with loneliness.