Films of 2019. Summary
Summing up the outgoing year, tremblingly recalling the good and closing the door to the bad, as a rule, is easy and pleasant. However, in the cinema of 2019, something…

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Wheelbarrow for pumping
FORD vs FERRARI (2019) Ford v Ferrari biographical, action, drama, sports Director: James Mangold Cast: Christian Bale, Matt Damon, John Burntal, Robert Sparta, Katrina Balf Premiere: November 14, 2019 To…

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On the other side of the rainbow
Judy (2019) Judy biographical, drama, historical, melodrama Director: Rupert Gould Cast: Renee Zellweger, Jesse Buckley, Finn Wittrock, Rufus Sewell, Michael Gambon Premiere: October 17, 2019 In 1938, Judy Garland got…

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Belgian nudist in search of the sacred hammer

Patrick (2019)
De patrick
drama comedy
Director: Tim Milants
Cast: Jamaine Clement, Kevin Janssens, Hannah Hextra, Ian Bijvoet, Pain Lanners
Patrick (Kevin Janssens) is almost 40, and he still hangs on the neck of his parents – the owners of a very specific summer camp, where everyone runs completely naked. He spends his free days designing and planing crafting furniture, which, however, does not show anyone. When Patrick’s elderly father dies, a whole bunch of worries falls on his son: someone wants to take his place on the nudist throne, someone is dissatisfied with the arrogance of a visiting American musician (an unexpected but rather short exit by Jamein Clement), and someone obsessively expresses regrets about the death of the parent. Patrick doesn’t care much about everything: he has his own tragedy – he lost the hammer from his favorite collection, which has been discontinued for six years. Patrick begins the investigation.

Shot from the movie “Patrick”
In addition to all the cinematic trends, which are understated and negotiated hundreds of thousands of times (this is the dominance of blockbusters, and the hegemony of the sequels, in general, you yourself know), 2019 was another strange trend. For some reason, this year an indecent number of absurd comedies, films with an equally serious face redrawing the rules of gray being came out. Moreover, this trend is not geographically recorded at all: “Dick Long’s Death” was released in the USA from one of the participants in the duet Daniels (authors of “The Man is a Swiss Knife”, also absurd), “The Art of Self-Defense” with Jesse Eisenberg and “Greener Grass”; in France Quentin Dupier made his “Deer skin”, in Ireland – “Super (NOT) natural”. And now there’s a Belgian answer to the world flow of funny syur: the film “Patrick” is about an autistic guy who cannot find his hammer in any way.

Shot from the movie “Patrick”
“Patrick” is the full-length debut of director Tim Milants, a competent serial director who shot episodes of “Sharp Visors”, “Legion” and “Terror.” His cinema, however, does not at all resemble what he had done before – and, to be honest, it doesn’t look like much at all. “Patrick”, unlike many of his obscene brothers, does not seek to emphasize differentness in every shot, to expose the facets of his unique world, to surprise, amuse or, perhaps, excite at all costs. In this regard, it is very interesting to compare it with the same “Greener Grass”, which recently died out in our cinemas (well, as if it died out, it was probably watched by three people): while American colleagues are transforming ordinary life into an acidic absurdity, turning every routine detail into to the hyperbole, Tim Milants, on the contrary, takes an initially striking setting (nudist camping, where everything from small to large go and shake with causals in front of the camera) and colorful characters only to establish a new norm with their help. Fifteen minutes later, the viewer no longer notices widespread nudity, strange people become familiar and therefore familiar, and a completely idiotic story about the search for a lost hammer suddenly acquires a sincere emotional volume.

Shot from the movie “Patrick”
This is a movie of contradictions: working as an antidetective and deconstructing the laws of the genre, “Patrick” is nevertheless very carefully written by the standards of a detective. Every absurd plot twist here, if you look at it, logically follows from the proposed circumstances and casual facts (the name of one criminal flashes almost in the very first dialogue, and the absurd emotionality of the second is cleverly explained by his motivation). With all the obvious frivolity, the film never seems to joke directly: the plane of the comedic is laid out above the plot, and it’s ridiculous not because the characters act contrary to genre laws, but precisely because inside their absurd plot they move along clear dramatic trajectories, in others conditions quite capable of being the basis for a sentimental tragedy. The most shocking scenes here are the most important ones. The funniest heroes are those that go the longest emotional way.

“Patrick”, like the works of Daniels, is an example of a new, metamodern absurdity in which the surrealism of images and the absolute idiocy of plot moves not only do not cancel out the drama, but, on the contrary, only emphasize it. He seriously, thoroughly and visually sophisticated (figuratively Milants can give odds to any abstruse author with a big “A”) tells a completely seemingly frivolous story, finds emotions where laughter usually drowns them, and meanings in places where no one would did not even search. His hero – infantile, scammer, eccentric – is not hyperbolic, and his strange crusade behind the Grail-hammer does not turn into any abstruse metaphor (the film even jokes about it directly: they say there is no catch here, he really just wants to find a hammer). It’s just that sometimes in the search for a building instrument, there may be more feelings, character and truth of life than in other festival manifestos.

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