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Dating Tips

Local Dating Online

Many local newspapers had online personals in the mid 1990s but were bought out by these big dating sites. From some of the comments it really shows how desperate dating sites are for money that they even advertise in comment sections. You have a much better chance going to local events and you will probably spend less than what you would spend on an online dating site.

Other apps have indicated that they might actually move closer to Facebook. For example, Bumble, founded by a former Tinder executive, said they had already reached out to Facebook regarding how to collaborate. And, “One thing everyone seems to agree on is that Facebook’s effectively endorsing online dating will be a huge legitimization event for the industry,” says Jefferies Internet analyst Brent Thill. According to Amanda Bradford, chief executive of The League, an elite dating app, “Facebook is validating that dating is a high-tech industry with really interesting and hard problems to solve. Still, Facebook could face some obstacles in building enough separation between the dating service and the legacy social network; some users might not like having both activities live on one app.

After giving him some time to cope with his cat passing away, he made plans to see her again and she was thrilled. He canceled the date last minute again because he said his grandma had died. Although this seemed too tragic to be true, she gave him the benefit of the doubt that he was telling the truth. Additionally, if someone is giving you a checklist right away of all of the things they want in a future partner, this may be a red flag for some controlling behaviors. It’s one thing if they express their non-negotiables but it’s another thing entirely if they are listing required traits. If you feel like someone is already trying to change things about you to suit their needs, that’s not okay. How someone initiates a conversation with you will say a lot about how they view you as a person and how they might treat you as a partner.

Online dating users are more likely to describe their overall experience with using dating sites or apps in positive, rather than negative, terms. Some 57% of Americans who have ever used a dating site or app say their own personal experiences with these platforms have been very or somewhat positive. Still, about four-in-ten online daters (42%) describe their personal experience with dating sites or apps as at least somewhat negative. Happily, there are some dating services that are looking to overcome the vanity. For example, Hinge matches people based on personality and preferences and lets you create a more interesting and rounded profile to draw people in. One of the few dating sites designed for affairs, Ashley Madison connects users for discreet encounters.

Basically all a guy like you has to do is instantly grab her attention in a memorable way with both your profile and your messages, then spend the least amount of time possible convincing her to meet you in person. For those who are hesitant to enter the online dating world for reasons related to safety or awkward conversation lulls, Double aims to take the pressure off with Double dates as opposed to one-on-one.

State things that are really important to you and be done with it. Connor turned an attempt at small talk into a rant about “gold-digging whores,” and the dating app was not having it. Matt- But what about when you said you would meet me in real life and we would lose our virginity together. One Love educates young people about healthy and unhealthy relationships, empowering them to identify and avoid abuse and learn how to love better. If you are going somewhere that serves alcoholic beverages, most bartenders are using secret codes to help customers signal, privately, when they need help if they’re getting harassed or feeling unsafe on a bad date.

With no financial requirement, free sites will naturally attract a greater proportion of people who are not really committed to finding a genuine relationship. Memberships you gain additional features such as being able to send more messages and receiving event discounts.

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Bollywood Full Movies Full Movie

Love | Salman Khan, Revathi, Rita Bhaduri, Shafi Inamdar, Amjad Khan | Full Hindi Movie

Love | Salman Khan, Revathi, Rita Bhaduri, Shafi Inamdar, Amjad Khan | Full Hindi Movie

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Bollywood Full Movies Full Movie

Full Movie: Lagaan 2001 | Full Historical Movie HD | Aamir Khan, Gracy Singh, Rachel Shelly, Paul Blackthorne

Lagaan 2001 | Full Historical Movie HD | Aamir Khan, Gracy Singh, Rachel Shelly, Paul Blackthorne

Director: Ashutosh Gowariker
Producer: Aamir Khan
Story: Ashutosh Gowariker
Actor: Aamir Khan, Gracy Singh, Rachel Shelly, Paul Blackthorne, A.K. Hangal, Suhasini Mulay, Kulbhushan Kharbanda, Raghuveer Yadav, Rajendra Gupta, Rajesh Vivek, Sri Vallabh Vyas, Javed Khan, Raj Zutshi, Akhilendra Mishra, Pradeep Rawat, Daya Shankar Pandey, Amin Hajee, Aditya Lakhia, Yashpal Sharma, John Rowe, David Gant, Jeremy Child, Ben Nealon, Anupam Shyam, Raja Awasthi, Pramatesh Mehta, Bhim Vakani, Amin Gazi, Anu Ansari, Parveen Bano, Chris England

Synopsis :- In the year 1893, the villagers of Champaner await meeting their Raja outside the British cantonment grounds. They want to ask for an exemption from tax (lagaan) but the Raja is busy watching the British play a match of cricket. A young farmer named Bhuvan incites laughter by mocking the game. This is overheard by the company captain, Andrew Russell, who feels slighted. He challenges Bhuvan to a game of cricket in return for canceling their tax, a bet that Bhuvan accepts.
Despite protests from the village, Bhuvan gathers a few who support him, and together, they crouch outside the cantonment grounds trying to understand the game. Elizabeth, Captain Russell’s visiting younger sister, approaches them, offering to help. She wants to teach them the game so that the match is played fairly. Bhuvan is delighted, and the group starts meeting Elizabeth at grounds outside the village to learn the game. Word spreads in the village and others are inspired to join Bhuvan’s team.
When Captain Russell finds out, he is incensed at Elizabeth. She refuses to stop helping the villagers, hiding the fact that she is secretly falling in love with Bhuvan. Meanwhile, Captain Russell has been ordered by his senior officers to prepare for paying the province’s taxes out of pocket should he loses the match. Back in the village, Bhuvan is struggling to find an eleventh player. At a practice game, he fields a ball that is returned to him by Kachra, a cripple who lives outside the village. As the ball bounces, the spin carries it in another direction. Bhuvan immediately sees value and adds Kachra to the team. He resists pressure again from the villagers, who are concerned over playing with an untouchable (Kachra), and manages to convince them.
On the day of the match, the British bat first and score heftily, Captain Russell hitting a century. They are finally dismissed by Kachra’s excellent spin bowling. When Bhuvan’s team starts batting, they lose quick wickets and are halfway out. Facing defeat, Bhuvan bats steadily and is aided by others in closing the gap to their target. With five runs needed, he hits six runs off the last ball and wins the match for the villagers. As the crowd erupts in celebration, Elizabeth seeks out Bhuvan but turns away when she sees him locked in an embrace with another woman.
Soon, the British cantonment is disbanded and Captain Russell is transferred to Africa. In the following weeks, the villagers watch the departing procession as one caravan stops in front of Bhuvan. Elizabeth steps out to say a final farewell to him. She returns forever to England, carrying an unrequited love for Bhuvan with her. Meanwhile, the farmers of the village revel in the newly invigorated monsoon. As rain pours down over Champaner, they look ahead to three prosperous years without any taxation

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English Reviews

Review: 107 Mothers – Cenzorka (2021)

107 Mothers – Cenzorka (2021)

Directed by: Péter Kerekes | 93 minutes | drama | Actors: Maryna Klimova, Iryna Kiryazeva, Lyubov Vasylyna, Vyacheslav Vygovskyl, Oleksandr Mykhailov, Irina Tokarchuk, Raisa Roman, Tetyana Klishch, Olga Dudinova, Tetyana Ivanova, Tetyana Neterenko, Tetyana Paraskeva, Tatiana Shmulevich

In the docudrama ‘107 Mothers’, Ukrainian Lesya (Klimova) is sentenced to seven years in prison for murdering her husband. She gives birth to her son Kolya (Vygovskyl) and is worried: when the child is three, she has to go to an orphanage unless Lesya can arrange another good home for him.

For his feature film portrait of a young woman in a women’s prison, the Slovak director Péter Kerekes spent a long time investigating the Odessa prison. He was impressed by how the imprisoned women have to cope – with each other, and with their sometimes ruined lives. You would say that you are making a documentary about it, that you have chosen a (Russian spoken) drama production. That knowledge alone is astonishing. ‘107 Mothers’ hardly deviates from a documentary.

What is the added value of an actor’s drama? For credibility it’s a drawback, nothing indicates a dramatized production – maybe the scripted acting. You don’t have to see this movie for the acting. Kerekes informed the NRC that ‘107 Mothers’ is a hybrid film. He would also rather have made a documentary, walked around the Odessa prison extensively as a ‘fly on the wall’, but does not reveal why the film has been dramatized. That makes it difficult to assess. Perhaps the prison management did not cooperate.

The chief guard of the prison plays a major role in the film. She does the intake interviews and lets the detained mothers know that she has power over the future of the children. Perhaps this role came a little too close to reality. The key word in the film is resignation. Lesya’s resignation is well portrayed by Klimova; Vygovskyl also does well as the boy Kolya; Kerekes adds a light touch through the soundtrack. What can you say? ‘107 Mothers’ looks poignantly authentic.

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English Reviews

Review: The Innocents – The Uskyltige (2021)

The Innocents – The Uskyltige (2021)

Directed by: Eskil Vogt | 117 minutes | drama, fantasy | Actors: Rakel Lenora Fløttum, Alva Brynsmo Ramstad, Sam Ashraf, Mina Yasmin Bremseth Asheim, Ellen Dorrit Petersen, Morten Svartveit, Kadra Yusuf, Lisa Tønne, Irina Eidsvold Tøien, Marius Kolbenstvedt, Kim Atlegiten, Nor Erik Vaagland Nordgersen Georg Grøttjord-Glenne

What if you cut off the oxygen supply to eighties nostalgia in “Stranger Things” (Matt & Ross Duffer, 2016) or filter out the most gratuitous violence and obscenity from “The Boys” (Eric Kripke, 2019)? In short, if you operate more subtly and realistically? Regardless of the genre, most likely you will get something Scandinavian. During a restlessly hot summer, Ida (Rakel Lenora Fløttum) moves with her parents and older sister Anna (Alva Brynsmo Ramstad) to a new apartment in a towering flat. Ida’s parents have their hands full with Anna, because she is autistic and has not spoken for years. Meanwhile, Ida tries to find her way around the playgrounds between the residential towers and in the nearby forest. There she meets Ben (Sam Ashraf). Immediately the misfits click. Then Ben shows how he can manipulate the trajectory of a falling rock with pure thoughts. To the supernatural mind, the body appears to be only a week’s shell.

Although ‘The Innocents’ is already Eskil Vogt’s second feature film, he is perhaps better known for his collaboration with Joachim Trier. Vogt co-wrote almost all screenplays for Trier’s films, including the Oslo trilogy with ‘The Worst Person in The World’ (2021) as the final piece. Everything about the collaboration between the two Norwegians breathes realistic drama. However, where the fascination for the paranormal comes from, it is immediately clear when you look at ‘Thelma’ (Joachim Trier, 2017) again. The film is basically about the burgeoning feelings of the title character for a fellow student, but in the background all kinds of supernatural forces are released.

The world of the children in ‘The Innocents’ is only slightly open to adults. They sometimes have the greatest difficulty articulating their feelings but also find it difficult to suppress them. The film posts almost naively: if supernatural gifts were commonplace, what about damaged people? They would be doomed. The fantasies of revenge hardly conceal the inner violence. After all, the crafty Ida and lonely Ben are worry children without the psychokinetic powers. In terms of attention, Ida feels disadvantaged by her sister and she can hardly bear this and Ben has many more X’s to his name. After seeing ‘The Innocents’ you will think twice about exclusionary behavior among children.

In film history, children have often been used frighteningly. ‘The Innocents’ is absolutely not innocent in its horror, especially the sound goes through marrow and bone. Furthermore, the overall tone resembles a social-realistic great-grandchild of director Jack Clayton’s 1961 British psychological horror classic of the same title. Everyday domestic drama takes center stage and the psychic abilities make things worse rather than better: not a blessing but a curse. Unfortunately, therein also lies the solution. From the lazy cinema chair, Stephen King looks on scornfully and in terms of family drama, Steven Spielberg will be quite proud of Vogt.

Towards the end, “The Innocents” loses momentum as if Vogt doesn’t quite know how to tame the monster he’s awakened. Also, it has long been a “shining” cliché that children are most receptive to the paranormal and adults especially like the stupid. And although the subtlety makes up for a lot, the plot developments in the realistic setting become a bit more unbelievable. Plus, there are some annoying loose ends. For example, the film just misses the boat to previously unexplored abysses and the otherwise fascinating fantasy about the importance of abnormalities passes too quickly over that one sweltering Norwegian summer.

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English Reviews

Review: Mass (2021)

Mass (2021)

Directed by: Fran Kranz | 111 minutes | drama | Actors: Jason Isaacs, Martha Plimpton, Ann Dowd, Reed Birney, Breeda Wool, Kagen Albright, Michelle N. Carter, Michael White, Campbell Spoor

Four people, one room, a lot of talking. That is in fact the intention of ‘Mass’, the directorial debut of actor Fran Kranz (including ‘Dollhouse’ (2009-2010), ‘The Cabin in the Woods’ (2011)), who also provided the script. If he doesn’t make it easy for himself with the staging, the theme is obvious: the aftermath of a deadly shooting at a secondary school. Two couples sit opposite each other, the parents of the shooter and the parents of one of the children who was killed. The target? That stays in the middle. But gradually details emerge of the horrific event and how the various interlocutors dealt with it.

Kranz shuns an all-too-clear position. The gun policy in the United States is briefly touched upon, but leaves no room for digression, because the murder weapon turns out to be stolen from a classmate’s father. As in ‘Elephant’ (Gus van Sant, 2003), it appears that the shooter liked violent computer games, but (fortunately) no reason is sought in this. The film does not attempt to provide a solution for the mainly American problem of an average of more than one mass shooting per day, but deliberately only zooms in on the dynamics between the four interlocutors. The most important asset is the phenomenal cast.

Jason Isaacs and Martha Plimpton are the first couple, Jai and Gail, to join the conversation with mixed feelings. Gail indicates on the way to the meeting room that she really isn’t going to say “that one”. Jai gradually appears to want confirmation that the shooter’s parents could have seen the terrible deed coming. But Linda and Richard, played by Ann Dowd and Reed Birney, above all seem to wonder where they’ve failed as parents. Their son, the culprit, turns out to have committed suicide after the school massacre, so they too have to deal with grief. And they have clearly grown apart.

Because it is unclear whose idea the conversation was and what the four parents each intend to do with it, Kranz can play nicely with the mutual dynamics. A nice free moment at the beginning is when Linda starts to cry first and Gail’s eyes fire because she is the damn victim after all. Even though it seems that few agreements have been made regarding the conversation, you can read from the reactions that unwritten rules are broken every now and then. Venom comes before emotion. Lawyers are frequently referred to, indicating how great the distance between the two parents was.

And that distance is still there at the beginning of the conversation, also in the image. But somewhere halfway through, the presentation changes. Not only do the camera images become jerky instead of static, the image format used also changes during an intense monologue by Jai, in which he meticulously describes how the shelling went according to the police report. While he tells his story, the field of view of the viewer, but also of the parents themselves, is literally expanded by using a higher aspect ratio. There is rapprochement, but not necessarily in the way you would expect.

No matter how much emotional satisfaction ultimate mutual understanding would bring to the viewer, the film happily shows that grief is something elusive that everyone deals with in their own way. Although the whole set-up seems a bit artificial, all four players get plenty of opportunity to display their acting talent. It is literally the faces of Isaacs, Plimpton, Dowd and Birney that tell the story, almost without further ado. Very different from, for example, the also very strong ‘We Need to Talk About Kevin’ (Lynne Ramsay, 2011). No sensation this time, just visible emotion. And that makes ‘Mass’ a particularly strong debut.

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English Reviews

Review: Wake in the Fright (1971)

Wake in the Fright (1971)

Directed by: Ted Kotcheff | 109 minutes | drama, thriller | Actors: Gary Bond, Donald Pleasence, Chips Rafferty, Sylvia Kay, Jack Thompson, Peter Whittle, Al Thomas, John Meillon, John Armstrong, Slim DeGrey, Maggie Dence, Norman Erskine, Owen Moase, John Dleen, Buster Fiddess, Tex Foote, Colin Hughes, Jacko Jackson, Nancy Knudsen, Dawn Lake, Harry Lawrence, Robert McDarra, Carlo Manchini, Liam Reynolds

‘Wake in Fright’ is the film adaptation of the book of the same name by Australian author Kenneth Cook. The film is set in the endless red sands of the outback and follows the adventures of the young school teacher John Grant (Gary Bond). John teaches a small group of children at an otherwise extinct school in the desert, and when the Christmas break arrives, he decides to go back to his girlfriend in Sydney. Along the way, however, he makes a stop in the mining village of Bundanyabba (called “The Yabba” by the locals). That evening, he is introduced to local cop Jock Crawford (Chips Rafferty) and the pastime of gambling with which the village’s permanently inebriated and sexually frustrated men pass their time. John also decides to gamble, but loses all his money. After this he becomes dependent on the charity of the people in the town. In the beginning John is still having a good time in Bundanyabba, but soon the village appears to harbor more and more dark sides.

Director Ted Kotcheff made ‘Wake in Fright’ in the winter of 1970. The film was highly regarded at the Cannes Film Festival, but did not exactly catch on with the cinema audience. The film was not well received, especially in Australia. Kotcheff is said to have portrayed a negative image of the rural population and many of the scenes are said to be too graphic in nature. In the 1990s, however, the film gained cult status. The film had gone missing for years at that point, until someone rescued a negative from a dumpster. Since then, ‘Wake in Fright’ has been on the radar of many a movie buff. This revaluation is completely justified. ‘Wake in Fright’ is a disturbing, yet very intriguing film.

‘Wake in Fright’ has been repeatedly labeled a horror film over the years. It’s not that hard to see why: the movie is deeply frightening. ‘Wake in Fright’ is a film about masculinity and alcohol addiction. The film shows quite straightforwardly how quickly and easily a person can fall into barbarism, and how ‘close-knit’ communities sometimes hide the darkest secrets. Perhaps what makes Bundanyabba the most horrifying is that its population is completely sober towards the most indecent and sad parts of the village. Outsiders with different views or behaviors are highly distrusted. Women flee the community. Carrying a firearm is the most normal thing in the world. And to make matters worse, there are quite a few suicides every year, a tipsy Jock Crawford tells John. “They think it’s because of the heat,” the officer says with a straight face. Crawford will be tough, he likes the heat.

As our protagonist, however, John isn’t much better than the inhabitants of Bundanyabba. In the beginning of the film, he looks down on the population and their simple moments of happiness. The fact that everyone glorifies this place as a kind of Garden of Eden, where everyone knows each other and people start drinking beer early in the morning, is a thorn in his side. But when he eventually becomes dependent on these people, he is gradually withdrawn into the community. And it turns out that he actually likes it in the village. John, thinking he was on a higher level, tries against his better judgment to leave his role as an intellectual. He drinks beer to the point of turmoil, is invited home to complete strangers, accepts the advances of one of the few women in the community, and has fun with the eccentric Doc Tydon (Donald Pleasence).

Doc is the only other person in the community who recognizes the absurdity of the whole thing. He is educated and astute, just like John. Yet he decided long ago never to turn his back on Bundanyabba. The people of the village know who he is, and he never has to worry about booze, as he is invariably rewarded with crates of beer for his services. Doc is the one who takes John in tow for most of the film. The dynamic between the two men is very intriguing. At times the two seem to get along very well, but at other times there is nothing but blind hatred between them. There is also something sensual lurking between Doc and John. This is never explicitly discussed, but it is there.

The most famous scene of ‘Wake in Fright’ is when Doc and his buddies take John on a kangaroo hunt. It’s late at night, and the men are driving a jeep through the outback way too hard and drunk. Then they start shooting at kangaroos like savage. They don’t kill the animals for their flesh or skin, but purely because they get pleasure out of it. John is also given the task of killing a kangaroo. He has to cut the animal’s throat with a machete. However, he fails completely, and the attempt ends up much bloodier than planned. The brutality of this scene is not easy to forget. Moviegoers denounced this scene in 1971, but animal rights organizations in Australia couldn’t believe their luck. Finally, there was a movie that had the audacity to show the senseless slaughter of kangaroos plainly on screen.

‘Wake in Fright’ is a very atmospheric, oppressive and disturbing film. The clever combination of the unfeigned violence, the savage landscape, the peculiar characters and a convincing sense of unease, make for an unforgettable film and make you look back with sadness to the gray but deeply intriguing world of Ted Kotcheff. You don’t come across films like ‘Wake in Fright’ easily.

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English Reviews

Review: Piccolo corpo (2021)

Piccolo corpo (2021)

Directed by: Laura Samani | 89 minutes | drama | Actors: Celeste Cescutti, Ondina Quadric

“Will I see her again?” Agata, the lead actress in ‘Piccolo corpo’ (2021), asks a priest. The question is about her stillborn daughter, who, because she has not yet taken her first breath, is not allowed to bear a name and therefore cannot be baptized. Unbaptized children do not go to heaven, the dogma goes, but must roam eternally in Limbo. The priest’s answer is therefore ‘no’, Agata will not see her daughter again, even after her own death.

As far as Agata is concerned, this is not the end of the matter. After carrying the child in her womb for nine months, she now ties it in a box on her back and sets out on a journey through the countryside of the Friuli-Venezia Giulia region to an unofficial sanctuary in the Dolomites. In a so-called respite chapel or sanctuaire à répit, the dead body of a child can be brought to life, for a brief moment, for a first breath, after which it can be baptized.

Such a haven for desperate parents, where a moment of postponement of death can be requested, are not the invention of debut director Laura Samani, but have been quite common in Europe since the Middle Ages. And even in 1900, the year in which the story of ‘Piccolo corpo’ takes place, they could still be found in France and the north of Italy.

It was the fathers who made a pilgrimage to these respite chapels, travel was a dangerous undertaking, especially for a woman alone. But Samani opts for a female perspective. Men play a secondary role in the story; rather they represent a passive and conservative force. Thus Agata’s husband resigns himself to the death of his daughter, the priest also remains stoic, and a group of men take Agata, who is after all on the road without a husband and is therefore suspicious, to sell her as a nurse (because of the mother’s milk). ).

In contrast, on her journey she meets a tough woman who leads a gang of robbers and frees her. She is medically cared for by wise herbal women (albeit in exchange for a large piece of her hair). And also Lynx, Agata’s boyish but helpful travel companion and guide, turns out to be a woman. Tellingly, Lynx’s father is not in the picture, but we only hear him screaming that he never wants to see his daughter (Lynx) again. Presumably because of this gender ambiguity and her free, wandering existence. That does not mean that these women are the most sympathetic figures in ‘Piccolo corpo’, but that they are the only ones who help her further.

Most of these characters are played by non-professional actors. The filming of Agata’s journey was chronological and Samani made use of the local population to fill the roles along the way. As a result, there is a kind of extra role for the many different local dialects that Italy has. This contributes to a sense of authenticity, but the lack of acting experience sometimes takes its revenge in dry and stiff playing.

Nevertheless, ‘Piccolo corpo’ is a gripping and, above all, exciting art-house film, which, thanks to the purposeful story and the enchanting images of the Italian landscape, drags you along to the magical end.

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English Reviews

Review: Oink (2022)

Oink (2022)

Directed by: Mascha Halberstad | 72 minutes | animation, family | Original voice cast: Hiba Ghafry, Kees Prins, Matsen Montsma, Jelka van Houten, Henry van Loon, Loes Luca, Johnny Kraaijkamp, ​​Alex Klaasen, Remko Vrijdag

Every child wants to try a pet at some point. So is Babs (Hiba Ghafry), preferably a puppy. Mother Margreet (Jelka van Houten) and father Nol (Henry van Loon) have to sleep on it for a few nights because their daughter can be quite impulsive. Then grandpa Tuitjes (Kees Prins), who suddenly arrives at the family’s doorstep all the way from America, gives Babs a piglet as a present for her ninth birthday. Babs is immediately in love and calls him Oink. Mother is a lot less pleased with Grandpa and Piglet. She is especially afraid of intruders in her vegetable garden. After all, the family is (self-sufficient!) vegetarian from head to toe. And Margreet doesn’t like that the present comes from her father, who is in fact absent. Grandpa has to stay in the garden house for the time being and Piglet can only stay if he doesn’t eat the vegetable garden or if he poops everything. Together with her good friend Tijn (Matsen Montsma), Babs tries to wash this pig.

By the way, Babs thinks grandpa Tuitjes is a strange fellow and has to get used to his accent, the cowboy hat and the banjo game by moonlight. Moreover, he is quite secretive about a large suitcase he brought with him. Grandpa himself does not care about all kinds of social hassles and the standard greenery on the dining table. In fact, he didn’t just come back to hook up with the family. After decades of absence, he also wants to create a furore at the sausage competition of the Association for Meat Products of Fresh Pigs.

If there’s one thing you don’t get from ‘Own’, it’s grumpy. What a party number! This homegrown animation film is based on the book ‘The Revenge of Knor’ by Tosca Menten. Writer Menten had not expected in her wildest dreams that this would be the result of the collaboration. Yet Menten clearly lies at the origin of the humorous and playful look at complex subjects for the everyday family. What do you actually eat when you eat meat; a father who suddenly leaves home and hearth; dog training for pigs and jokes about poop of course.

Director Mascha Halberstad has earned her stripes in the animation world with, among other things, several short films, a video clip for the band The Prodigy, and the TV series ‘Fox and Hare’ (2018 – …). ‘Own’ seems to be the culmination of the work so far. Her first feature film is both a crafty book adaptation and a visual feat. Sometimes it is also reminiscent of a plump Dutch grandnephew of ‘Fantastic Mister Fox’ (Wes Anderson, 2009); ‘Knor’ is more comical, flatter and more direct than many youth films. The poop jokes do not predominate but there is always room for them. The ensuing slight anarchy is enjoyable for anyone over the age of six. The voice actors also visibly enjoy the material. Especially Kees Prins and Loes Luca (the gruff aunt Christine) go wild on the playful (under)tone. Plus, ‘Own’ is full of mischievous movie references, including to ‘ET’ (Steven Spielberg, 1982) and ‘Mad Max: Fury Road’ (George Miller, 2017) (note the tractor scenes!). Following the stop-motion masters of Aardman Animations (‘Wallace & Gromit’, ‘Shaun the Sheep’ et cetera.), Halberstad and her animation team have transformed the tangible clay into something very lively and touching on screen without going on the sentimental tour. They can compete with the best in the genre.

Every now and then the stop motion seems sluggish, as on a late summer day. This is anything but disturbing and strongly supports the dry humor and thoughtful view on social themes. And although the current state of affairs in the meat industry is neither fish nor meat, the film is not grumbling about it in terms of moralism. Could the story perhaps go deeper into certain matters such as the disappearance of grandfather Tuitjes from the life of daughter Margreet? Absolutely no man overboard here, enough wealth and perhaps it is an idea for a spectacular sequel.

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English Reviews

Review: Finding You (2020)

Finding You (2020)

Directed by: Brian Baugh | 119 minutes | drama, romance | Actors: Rose Reid, Jedidiah Goodacre, Katherine McNamara, Patrick Bergin, Saoirse-Monica Jackson, Judith Hoag, Fiona Bell, Anabel Sweeney, Tom Everett Scott, Vanessa Redgrave, Ciaran McMahon, Meg O’Brien, Marion O’Dwyer, Helen Roche Dairíne Ní Dhonnchú, Bryan Quinn, Gwynne McElveen, Natalie Britton, Trevor Kaneswaran, Orla Bell, Eva-Jane Gaffney, Michelle Hlongwane, Frank McGovern, Ken Carpenter

‘Finding You’ by director Brian Baugh has been described as a ‘Notting Hill for the youth’. And that’s right like a bus, because the storyline is based on almost the same pattern. 18-year-old Finley Sinclair (a fresh Rose Reid) ruins a violin audition at a prestigious New York conservatory, prompting her to venture out into the wider world. Shifting the beacons for a while and trying to arrive at new insights. She chooses to leave for Ireland, as her late brother did before, to study for a summer semester.

On the plane en route to her destination, she accidentally finds herself next to movie star and heartthrob Beckett Rush (infectiously played by Jedidiah Goodacre). This one is also on its way to Ireland to shoot a dragon movie there. What happens on arrival? The two youngsters are both staying at the B&B of the couple Nora (Fiona Bell) and Sean (Ciaran McMahon)!

Between the filming, Beckett acts as Finley’s personal guide and she helps him with his lyrics in return. But can Finley trust Beckett? Because is he no longer in a relationship with his regular co-star Taylor (Katherine McNamara (from ‘The Maze Runner’)? In between, Finley also has to spend quality time as a school assignment with a senior in a care home, Cathleen Sweeney (a decent Vanessa Redgrave This all leads to fun with Nora and Sean’s daughter, Emma (Saoirse-Monica Jackson from ‘The Derry Girls’), a search for Cathleen’s sister, advances from Beckett, and handy fiddle tips from fiddler/vagabond Seamus (a role by Patrick Bergin). With Beckett’s manager, his father Montgomery (Tom Everett Scott), as the evil genius, the couple must overcome some hurdles to ‘really find each other’. In the end it comes down to this: Trust the journey that you make.

‘Finding You’ is not a high-flyer, the film can rather be classified under the heading ‘cute’. Here and there quite predictable and for the beauty a little too little sharp edges, but all in all the viewer is left with a positive feeling. The beautiful views that Ireland has to offer and the infectious, lively violin music frame this sweet film. From NYC to hospitable Ireland to play chess with a handsome dragon slayer, there are worse trips…