Przemysław Mudlaff
He appreciates the truth and sincerity of the intentions of its creators in cinema. He loves to be emotionally kicked and abused by the film, but also happy and amused. A hunter of film curiosities, references and connections. A fan of the works of PTA, von Trier, Kieślowski, Lantimos and Villeneuve. What he likes the most is talking about the cinema over a beer, and the beer has to be cold and thick, you know what.
THE DEAD DON’T HURT. The Wild West According to Viggo Mortensen [REVIEW]
Do all of Mortensen’s narrative twists in “The Dead Don’t Hurt” mean that he has taken up a duel with the legendary, almost sacred...
SHARON TATE. The Eternal Diamond
On the night of August 8-9, 1969, the house rented by Sharon Tate and her husband Roman Polanski on Cielo Drive in Beverly Hills became the scene of a...
STRANGE DARLING. A Cult Classic or Just the Best Film of the Year? [REVIEW]
Great script, successful direction, intense pacing, stunning acting, and good music aren’t the only strengths of “Strange Darling”.
COUP! Perspective depends on where you sit [REVIEW]
A major strength of “Coup!” as a satire in the “eat the rich” genre is its objectivity and fairness.
THE CROW. A Grotesque Revenge Film [REVIEW]
I thought I’d see at least a bit of that specific aesthetic sensitivity in Sanders’ “Crow”. I didn’t. Sanders had his own modernized...
PSYCHO GOREMAN: Monsters in Tribute to Childhood
Despite all its craziness, “Psycho Goreman” radiates good energy. It’s a sincere love letter to the kind of cinema you loved as a child....
BLACK MIRROR: BANDERSNATCH. All Endings Revealed
Did you play, or rather, watch Black Mirror: Bandersnatch, the cinematic experiment from Netflix that divided streaming audiences?