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Monday, November 29, 2021

Five international films to watch now

In the age of streaming, the Earth is flat – about the size of a screen – with travel to distant places with just a monthly subscription and a click. We’ve traveled the world of opportunity and selected the best new international films for you.


Watch it on Netflix.

Between 1985 and 1987, Poland’s communist secret police were involved in a covert anti-gay operation: more than 11,000 people were arrested, forced to sign confessions and registered in a national database, making them vulnerable to blackmail. Operation Hyacinth, the tense, tortuous police procedure of Pyotr Domalevsky, unfolds in the midst of this project. When a famous gay socialite is killed, the police quickly find several unfortunate men at the cruise site to intimidate and force them to confess to the crime. Robert (Tomasz Zietek), a rookie, overworked police officer, sniffs a rat and goes undercover to find out more. The truth – as one would expect from neo-noir, in which cigarette smoke constantly swirls through dark, dark corridors and rain-drenched streets – is far more complex and treacherous than he had anticipated. Soon, Robert’s convictions – both for himself and the police – collapse.

Operation Hyacinth is a gripping genre outlet that moves quickly and unpredictably, but its true strength lies in its rich emotional flavor. Even though the film rephrases the “tortured cop” image, one of the main elements of film noir, it avoids unnecessary gimmicks about Robert’s repressed sexuality. Instead, Domalevsky approaches the character’s awakening to his own desires with a light touch and rare moral clarity. At the decisive moment, entangled in betrayal and secrets, a distraught Robert tells his mother: “I lied to everyone.” She replies in a firm, steel tone: “But not to herself.”

Watch it on Mubi.

Adilkhan Yerzhanov’s “yellow cat” opens with a scene of a charming quirk: in the middle of the endless Kazakh steppe, a man in a hat and a raincoat walks into a grocery store looking for work and, when asked about his skills, announces that he can act out every scene in Jean-Pierre’s Samurai Melville. This eccentric is Kermek (Azamat Nigmanov), the wannabe Alain Delon, who owes his love of cinema to the daily television hours he was allowed to watch when he was growing up in an orphanage. He just got out of prison and dreams of opening the first cinema in the region.

This sweet-sweet premise contradicts the pungent darkness of the Yellow Cat. Minutes later, Kermek finds himself involved in an elaborate mafia conspiracy that forces him to flee across the rare windy plains with a prostitute he rescues from a brothel. Ridiculous gags, including nods to Taxi Driver and long-running renditions of Singing in the Rain by Gene Kelly Kermek, are intertwined with a disturbing, often bloody cat-and-mouse tale that both glorifies and pervades movie magic. One of the common jokes in the movie is that Kermek doesn’t know how Samurai will end because he watched the movie for only an hour. So its climactic fate is both a surprise and an inevitable irony, reminding us that for all their inspiring twinkles, films – or at least the good ones – are just as ruthless as life.

Watch it on HBO Max.

Pilar Palomero’s debut film is an accurate, naturalistic portrait of adulthood that can make one flinch with recognition. The film is set in 1992 in the Spanish city of Zaragoza. It follows 11-year-old Celia (Andrea Fandos) as she navigates the tangled landscapes of her early youth amid a stifling conservatism. She visits an austere Catholic monastery where nuns teach young girls to drown out voices so as not to risk being anything less prim and perfect – repressive pedagogy, startlingly literal at the beginning of the film, with a teacher instructing less experienced singers in the school choir (including Celia). to silently sync your lips. To make matters worse, the fact that Celia is raised by a single mother and does not know who her father is, makes her the subject of peer ridicule.

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But Celia and her friends find their own ways to rebel, and Palomero captured their experiments – parties, makeup, cigarettes – with touching details, without oversimplifying or sensationalizing the girls’ aspirations. At one point, Celia folds her T-shirt into a bra (which her mother cannot afford and which she doesn’t need yet) and sways in front of the mirror, waving her pen like a cigarette. It is a poignant encapsulation of the yearning that characterizes adolescence – the yearning for something you don’t already have, to be someone you can’t yet be.

Stream it to Amazon Prime Video.

Amit Masurkar’s Sherni (meaning Tigress in Hindi) is a film genre that I had no idea what I was looking for: a forestry service. The film is set in the jungle of central India. The film follows Vidya (Vidya Balan), a newly appointed forest inspector in a region traversed by tigers. Vidya’s mission and passion is to protect and preserve the environment, but as she quickly realizes, there is much more at stake in her work. Industrial encroachments have deprived local residents of pasture land for raising cattle, forcing them to travel to areas frequented by tigers, whose killings are beginning to include humans. At the same time, feuding local politicians are surviving these tragedies to their advantage, recruiting private hunters with little concern for the ecosystem or the protection of endangered animals.

Sherni follows Vidya and her team as they quietly fight these forces of corruption, insisting on equality, environmental justice and, above all, science: an institution of evidence and rationality that is increasingly contested in the corrupt world. One of the pleasures of a well-crafted Mazurkar script is that it devotes a lot of time to the smallest details of forestry — tracking and tracing wildlife; plant and water management is an immersive creature movie thrill at the same time, as the hunt for the man-eating tigress takes the final half hour of the movie.

Watch it on Mubi.

The first half of Mohamed Ben Attia’s social-realist drama draws us into the lives of middle-aged Riad and Nazli and their frustrated, chronically ill 19-year-old son, Sami. Sami is about to take the bachelor’s exam that will determine his university entrance prospects, and as Riad and Nazli devote all their time and scarce resources to supporting him, Attia paints a touching portrait of a loving family that stands firm no matter what. But the director has bait and a switch up his sleeve: In the middle of the film, Sami suddenly disappears and leaves for Syria, and Dear Son expands from a granular kitchen sink drama to reflections on the plight of a nation and a generation. The focus shifts to Riad, played by the huge Mohamed Dhrif, whose gnarled body and tired face speaks louder than words as he travels to Syria to try to get his son back. The film resists the temptation to come up with bold answers to complex socio-political questions, and instead, with heartbreaking empathy, captures the grief, guilt and betrayal of parents who do everything right, only to remain at a loss for what they did wrong.

World Nation News Deskhttps://www.worldnationnews.com
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