Just as it was in Love Machine, in Love Machine 2 a series of gags complement a script that is at times a little too predictable, but which, overall, provides the viewer with an hour and a half of laughter. The charisma of Georgy (and, of course, of talented Thomas Stipsits) is the real focus around which the whole film revolves.
In Boomerang we find all the constants of Kurdwin Ayub’s filmography. Here too we notice a conscious and extremely mature approach to a young story about young people. A light and deep story at the same time. An extremely personal story that through the director’s innovative gaze immediately takes on universal connotations. At the Diagonale’22.
Divided into three episodes, Antares is a complex and layered fresco of contemporary society. Three stories, three different lifestyles, one setting. Antares does not only tell us about impossible loves, desperate loves, tormented loves and secret love affairs. Antares stages Love as utopia, a constant, desperate need for love that often also leads to a deep sense of loneliness.
In Falling, Barbara Albert, in staging a strong nostalgia for the past, together with the desire to find oneself and one’s affections, skilfully avoids excessive emotionalism, showing a necessary detachment and a mature rationality in observing the five protagonists closely. Detachment and rationality that, in this case, manage to make us gradually get more and more connected with each individual character.