English Reviews

Review: A Journal for Jordan (2021)

A Journal for Jordan (2021)

Directed by: Denzel Washington | 131 minutes | drama | Actors: Michael B. Jordan, Chanté Adams, Jalon Christian, Robert Wisdom, Tamara Tunie, Jasmine Batchelor, Marchánt Davis, Susan Pourfar, Vanessa Aspillaga, Gray Henson, Johnny M. Wu, David Wilson Barnes, Spencer Squire, Melanie Nicholls-King

Journalist Dana Canedy suffered a massive personal tragedy in 2006 and wrote an international bestseller about it two years later, entitled “A Journal for Jordan: A Story of Love and Honor.” Central to her book is the love she shared with “the most honorable and respectful man I have ever known.” His name was Charles Monroe King and Dana had never seen a man so devoted to her. “He called me his queen and treated me as such.” But her lover was also First Sergeant King, a highly decorated US military leader who, in 2005, when he had just been deployed to Iraq to oust Saddam Hussein, started his 200-page diary to their then-unborn son Jordan. He taught his son, among other things, how to be a good person, how to treat women with respect and what the power of prayer is. Most of all, he lovingly described how proud he was to be Jordan’s father. Charles was killed in combat on October 14, 2006, just a month before his term of service ended. After his death, Dana wanted to do ‘something productive’ with her grief and wrote her book. None other than Denzel Washington was touched by her story and he adapted ‘A Journal for Jordan’ together with screenwriter Virgil Williams (‘Mudbound’, 2017) into a film in which romance predominates.

When we first meet Dana (Chanté Adams), she writes a letter to her son. Probably to give to her son along with Charles’ diary. But that is not immediately clear, because ‘A Journal for Jordan’ (2021) regularly plays with the times. Because then we meet a younger version of Dana, who has a successful career as a journalist at The New York Times and is very fond of her life in the big city. While visiting her family, she bumps into the handsome Charles (Michael B. Jordan), a first-class sergeant who learned the trade under the care of her father (Robert Wisdom). Although Dana doesn’t like the army much (partly due to an apparently difficult relationship with her father that unfortunately barely works out), she falls head over heels for Charles. He is therefore almost ‘too good to be true’: not only is he extremely attractive and does honorable work that he takes extremely seriously, he is also courteous, respectful and also grants her her own career. And when he’s not working or training, he’s painting (!). At first, the two circle around each other a bit; After all, Dana is the independent woman with a life of her own in the big city as he prepares for an eventual mission in Texas. But the appeal is too great to ignore. Fortunately, Adams and Jordan have a great chemistry between them, because the many scenes in which the two attract and repel each other have a repetitive nature.

When the two have finally decided on each other and Dana turns out to be pregnant, George W. Bush decides it’s time for Operation Iraqi Freedom and Charles is sent out. Their early happiness is nipped in the bud. Washington – who previously served as director for ‘Antwone Fisher’ (2002), ‘The Great Debaters’ (2007) and ‘Fences’ (2016) but is not playing a part himself in a film he directed for the first time – makes some curious choices. By focusing on the romance between Dana and Charles, rather than how their child must grow up without his father, A Journal for Jordan loses its persuasiveness. Also the hopping between the different time paths does not make the whole any stronger. Many matters are lightly touched upon but not worked out: the most shocking is this with Charles’s first wife, with whom he also had a child. Nota bene a half sister of Jordan whom we hardly hear about, let alone see her. Other choices are also remarkable: why is something like 9/11, with so much impact, cut off so abruptly? How does Dana deal with the sexism at work, in which two colleagues dismiss her work as a single mother’s tinkering and then run off with her story? And why has the relationship with her father cooled down so much? Another one: If she’s having so much trouble with the military, because of her father, and because of this new trauma around Charles, why does she seem to applaud the fact that her teenage son suddenly starts acting like a soldier?

So many questions unanswered. Is it Williams’ screenplay or is the source material just not that interesting? Of course it is nice that a father leaves something for his son and that mother has been able to write off her grief. But especially in the personal sphere. Not every diary is of as universal historical value as Anne Frank’s. Many other successfully filmed diaries are fictitious. ‘A Journal for Jordan’ was undoubtedly made with the best intentions, but the execution is messy and leaves the viewer with more questions than what he started with. The characters are the most interesting, although the stoic King is portrayed here very well and idealistic. It’s that lead actors Adams and Jordan have such a strong mutual attraction and that young Jalon Christian as adolescent Jordan King is so charming that we keep watching, but from Denzel we expect better.

Bollywood Full Movies Full Movie

Tabaahi Zulm KI (Ism) 4k | Nandamuri Kalyanram, Aditi, Jagapati Babu | New Hindi Dubbed Movie 2022

Tabaahi Zulm KI (Ism) 4k | Nandamuri Kalyanram, Aditi, Jagapati Babu | New Hindi Dubbed Movie 2022

English Reviews

Review: Encore – En corps (2022)

Encore – En corps (2022)

Directed by: Cédric Klapisch | 117 minutes | drama | Actors: Pio Marmaï, François Civil, Denis Podalydès, Marion Barbeau, Hofesh Shechter, Muriel Robin, Souheila Yacoub, Mehdi Baki, Alexia Giordano, Marion Gautier de Charnacé, Robinson Cassarino

In ‘Encore’ a spectacle takes place between the wings that really upsets Elise, a 26-year-old prima ballerina. The show must go on, so she enters the stage slightly confused. That night, disaster strikes for a second time when she lands unhappily during a pas de deux and disastrously injures her ankle.

In the hospital it becomes clear how serious her accident is. The doctor advises plaster, rest and probably major surgery after two years that will end her career as a ballet dancer. It’s either that or never walk again. This choice changes the life of Parisian Elise (Marion Barbeau) forever, especially given her precarious age as a professional dancer.

Her unbridled passion forces a new view on dance. The contrast between genres such as modern dance, breakdance, hip-hop and ballet fascinates her and she chooses to switch to modern dance. That requires a lot of adaptability because ballet is as light as a feather and in modern dance you are more in contact with the floor, the earth. Her father looks at his daughter’s choice with sorrow, because he would have preferred that she had gone to law school after all. A well-intentioned but rather short-sighted opinion, which he, thank God, later corrects in the theater as a spectator in full emotion.

By collaborating with big names from the dance world such as the Israeli choreographer Hofesh Shechter and the aforementioned Marion Barbeau – a prima ballerina at the Paris National Ballet – this French film evolves from a mediocre romantic drama with a wafer-thin storyline to a higher level. This is mainly due to the dance scenes, an excellent insight from director Cédric Klapisch. The choreographies are breathtaking and filmed in such a way that you imagine yourself among the dancers during rehearsals. The enthusiasm of the dance company bursts from the screen. The music that has been chosen also forms a perfect synergy with the dance scenes.

‘Encore’ was first called ‘En corps’, which on closer inspection would have been a better title if you consider the heavy physical aspect of dance. The flexibility, strength, limits and perseverance that this entails is impressive. ‘Encore’ is a pleasant ode to dance that – hopefully – can count on many cinema visits.

English Reviews

Review: Coppelia (2021)

Coppelia (2021)

Directed by: Steven de Beul, Ben Tesseur, Jeff Tudor | 80 minutes | animation, family | Actors: Michaela DePrince, Daniel Camargo, Vito Mazzeo, Darcey Bussell, Irek Mukhamedov, Igone de Jonghm Glynis Terborg, Nancy Burer, Jingjing Mao, Sasha Mukhamedov, Timothy van Poucke, Sem Sjouke, Edo Wijnen, Erica Horwood

There are apps where you can see a beautiful animated version of yourself with a photo of yourself and a few swipes. In a manner of speaking, you can then star in the latest Pixar or DreamWorks film. In ‘Coppelia’, a very special combination of live action, animation and ballet, residents of a small cozy village are enchanted, thinking that a magical makeover makes them look like the perfect animated version of themselves.

‘Coppelia’ is a Dutch/Belgian/German production, based on a performance by Dutch National Ballet of the same name. Some of the dancers can also be seen in this film, but directors Jeff Tudor, Steven De Beul and Ben Tesseur came up with a completely new concept for it. In addition to classical ballet dancers and actors (such as Jan Kooijman), there are also animated characters and the whole is set in a 2D drawn world, with real elements (such as certain pieces of furniture that are stood, sat or leaned against).

‘Coppelia’ is about the cheerful Swan (called Zwaantje in the Dutch press material, but her name is never spoken). She lives with her mother in the village mentioned above, where she is greeted every morning on her way to work by fellow villagers. Due to the colors and the design of the environment, you soon imagine yourself in sunny places, France, Italy, that way. Her cafe, where she serves freshly squeezed fruit juices, is located in the middle of the village square. Ideal, because that way she always has the boy who gives her butterflies in her stomach: Franz, whose bicycle repair shop is also located on the square.

The infatuation is mutual, but still very early. The young love between Swan and Franz is explored in an endearing way, clever, because in ‘Coppelia’ not a word is spoken, but in the vein of a ballet performance the viewer gets the story through dance and facial expressions. Several relationships are put under strain by the arrival of a new villager: the evil (you can tell by his mustache and eyebrows) Dr. Coppelius, who as if he were Frankenstein himself, has created a robot woman, but who has yet to be fine-tuned. He has devised a ruse for this, which almost all the villagers, except Swan, fall for. It’s up to Swan and her friends to save her mother, Franz and the rest of the village.

While the plot is easy to follow, it’s quite an achievement for a film without dialogue – even the voiceover is missing. For those who spontaneously get itchy from the words ‘classical ballet’, ‘Coppelia’ is not suitable, but for film viewers who like to open up to a new experience, this is a great introduction and also worth watching as a film. The message that true beauty comes from within has been used many times before in movies, but this time it’s not the main character who has to learn this lesson; she already knows. That’s refreshing and completely in line with the rest of the film’s feel. ‘Coppelia’ is a must for the whole family and deserves a much larger audience than it probably will get.

English Reviews

Review: Thor: Love and Thunder (2022)

Thor: Love and Thunder (2022)

Directed by: Taika Waititi | 119 minutes | action, adventure | Actors: Chris Hemsworth, Chris Pratt, Natalie Portman, Melissa McCarthy, Christian Bale, Karen Gillan, Sam Neill, Matt Damon, Tessa Thompson, Pom Klementieff, Jaimie Alexander, Russell Crowe, Luke Hemsworth, Dave Bautista, Sean Gunn | Original voice cast: Taika Waititi, Bradley Cooper, Vin Diesel

Eight years after the painful break up with Dr. Jane Foster (Natalie Portman) and several years after the big fight against Thanos in ‘Avengers: Endgame’ (2019), Thor (Chris Hemsworth) is in a midlife crisis. Meanwhile, the son of the gods fights alongside the Guardians of the Galaxy and uses the Stormbreaker ax to cut an unknown path through the galaxy. Slowly he gets back into shape, physically anyway, because it is still rumbling between the ears. Then Thor Odinson receives a distress call from fellow Asgardians who are forced to live in an enclave on Earth after ‘Thor: Ragnarok’ (2017). The godslayer Gorr (Christian Bale) is on the warpath. Much to his surprise, Odinson takes on this godslayer with his ex-girlfriend Jane, who has been chosen as Mighty Thor by the hammer Mjolnir.

To keep things simple, ‘Thor: Love and Thunder’ is the fourth Thor installment and the 29th in the Marvel Cinematic Universe. Unlike some Phase Four MCU productions, you can consume ‘Love and Thunder’ as well as predecessor ‘Ragnarok’ quite easily on its own thanks to the gutsy director Taiki Waititi, who is in the director’s chair for the second time. What makes this episode so manageable within the larger story, among other things, are the running gags and the stories that Korg (voice of Waititi) tells the Asgard children. With a comedic undertone, these stories provide meta-commentary on what preceded the predicament the title hero finds himself in, and what transformations he undergoes, including ‘Rocky’-esque montages!

Compared to the first two ‘Thor’ films, directed by Kenneth Branagh, Waititi has given the look and humor a unique twist, including the somewhat unhealthy obsession with the 1980s. This time especially Guns N’ Roses’ ‘Conan the Barbarian’ (John Milius, 1982) and ‘Sweet Child o’ Mine’ (1987) are willing victims. The running gags also make ‘Love and Thunder’ light-hearted, casual and occasionally crazy. As far as the jokes go, Waititi’s Thor is even slightly more anarchic than ‘Guardians of The Galaxy’ films (James Gunn, 2015, 2017). For example, for completing a mission, Thor receives giant goats as a gift; the Asgardians on Earth live off tourism and there is an almost literal battle of arms between Odinson’s ax Stormbreaker and Thor Jane’s hammer Mjolnir: not a love triangle but a quadrilateral. The quirks of the Doctor Strange’s cloak are nothing compared to it. The sometimes epic candy cane-colored computer effects and sets also do justice to the silly set-up. However, in terms of action, ‘Love and Thunder’ is less spectacular than, for example, ‘Doctor Strange in The Multiverse of Madness’ (Sam Raimi, 2022).

But in a Disney Marvel production, time must also be set aside for quite a bit of pathos. For the screenplay of ‘Love and Thunder’ Waititi worked with Jennifer Kaytin Robinson who comes from the drama comedy about joy and sorrow. The comic fury is thus reasonably kept in check and the wackiness is not at the expense of conclusive drama. Among other things, there is a crucial mirroring between Thor and villain Gorr. Fortunately, this one goes deeper and has more implications than the ‘Martha’ (mother) – primal cry from Batman to Superman in ‘Batman v Superman: Dawn of Justice’ (Zack Snyder, 2016). Phase four of the MCU seems even more fascinated by both love and the grueling trials of parenthood than the phases before it. You can also see this theme in Wanda Maximoff (Elizabeth Olson) in ‘Doctor Strange in The Multiverse of Madness’ and the TV series “WandaVision” (Jac Schaeffer, 2021). In addition, ‘Love and Thunder’ attempts to humanize the classical gods. Like humanity, they too are subject to the whims of emotions, not without far-reaching consequences, of course. In all that pathos violence of the Marvel blockbuster, Waititi’s humorous stamp ebbs away somewhat, especially the comical cuts have to pay off as the drama progresses.

The very fragile balance between drama and farce serves the crew in front of the camera reasonably to well. Hunk Hemsworth is kind of the plaything of other people’s jokes. Not a speck in the air, except for the drama. Dramatically, Natalie Portman has an equally tough, if not heavier, bone to deal with than Hemsworth and drags herself through it unscathed. However, she has far fewer laughs on her hand. Always? Very unfortunate, but Lea Thompson as Valkyrie really doesn’t get enough to do. Even more supporting characters suffer from this. In contrast, Christian Bale is a bull’s eye. Bale’s sometimes dreaded intensity works great for godslayer Gorr: it couldn’t be more sardonic for this material. He is also aware of the inherent ridiculousness of the whole adventure.

Essentially, ‘Love and Thunder’ is an almost timid, yet slightly limited, Greek tragedy disguised as a slightly anarchic space opera. Preferably the film breaks down barriers between time and space with rainbow powers and entertaining nonsense. But in the end, this oddball finds an enjoyable balance between pathos and pulp within the MCU.

English Reviews

Review: The Real Charlie Chaplin (2021)

The Real Charlie Chaplin (2021)

Directed by: Peter Middleton, James Spinney | 114 minutes | documentary | Starring: Charles Chaplin, Jeff Rawle, Dickie Beau, Anne Rosenfeld, Pearl Mackie, Pearl Mackie, Matthew Wolf

His image has become a symbol of the early years of the film: The Tramp. The iconic character with bowler hat, walking stick, oversized pants and shoes and of course that signature mustache made Charlie Chaplin the very first movie star to enjoy worldwide fame. Because the films in which The Tramp played the lead had no sound, and the maverick was averse to hierarchy and social power relations, he appealed to a wide audience in a universal way. In the years in which he emerged, from 1914 onward, there were many who – like Chaplin – migrated from Europe to North America in the hope of a better life. Once they arrived in their promised land, it turned out that a hard life, at the bottom of the social ladder, was waiting for them there too. For all those people, The Tramp with its slapstick and physical comedy was not just an entertaining diversion; he also offered them something to hold on to in difficult times.

In their documentary ‘The Real Charlie Chaplin’ (2021), Peter Middleton and James Spinney try to reconstruct who Charlie Chaplin (1889-1977) really was. The man behind The Tramp. In just under two hours, they run through Chaplin’s entire life: from his tough childhood in London, which he spent most of the time in poor houses because of an alcohol-addicted and absent father and a mentally ill mother, through his great successes as a movie star to his eventual decline because of an alcoholic. his unpopular political views at the time and the many scandals that characterized his private life. In addition to using authentic image and audio fragments and fragments from Chaplin’s films, they also use reconstructions, pasting original audio fragments under a staged image, making use of a doppelganger. An admittedly somewhat contrived way to revive history, but in general this cinematographic trick works quite nicely. In any case, it works better than another trick Middleton and Spinney pull, which is zooming in and out of a black-and-white image to enliven it.

Anyone who has delved a little into Chaplin will know the story of the penniless young Londoner who left for America as a talented pantomine player and managed to bend the fledgling film industry to his will. The Tramp allowed Chaplin to build his own empire. He didn’t feel like dancing to the tune of the big studio bosses any longer. In addition to acting and dancing, he could also direct, write, produce and even make music. Together with DW Griffith, Mary Pickford and Douglas Fairbanks, he founded the distribution company United Artists in 1919 and thus took full control of all his work. From the moment the ‘talkies’ made their appearance, around 1930, Chaplin’s career entered a new phase. And so did its popularity. Because he couldn’t give The Tramp a voice without taking away its universal character. At first, Chaplin stuck to the silent film with ‘City Lights’ (1931), although he did add a score he composed himself. The production of this film took no less than 21 months. The perfectionist Chaplin had a crucial scene redone 354 times, to the frustration of everyone else involved.

But even Chaplin could not hold on to the silent film and in 1936 with ‘Modern Times’ he made a satire not only on the ‘talkies’ but above all on the industrial revolution and emerging capitalism. For the last time he takes on the role of The Tramp, who in the most iconic scene is almost literally mangled in the gears of the raging economy. From that moment on, Chaplin shows his colors: he sympathizes with communism and comes into the mind of the infamous FBI boss J. Edgar Hoover. In his next film, ‘The Dictator’ (1940), he parodies Hitler, but the moment in which he does so is not considered too picky. Also not too picky is his predilection for very young women. Chaplin married four times and had dozens of affairs and a custody battle in between. In addition to the communist fighters of the HUAC (House of Un-American Activities), the infamous gossip journalist Hedda Hopper was on his tail, after which he left for Switzerland in 1953 with his 36-year-young wife Oona and stayed there until his death in 1977.

The documentary claims to show us the real Charlie Chaplin, and in part it succeeds: because no matter how rich he became, deep down he has always been that Tramp who was shaped by a lonely youth in poverty. The image of that one little man who takes on the established order is not only reflected in a large part of his films, but also runs as a common thread through his life. Furthermore, the film is not afraid to show us the lesser sides of the man: in audio recordings, daughter Geraldine Chaplin – also a gifted actress herself – says, for example, that he was a cold and distant father who wanted to be in control of everything. “I can imagine it was lonely being Charlie Chaplin’s wife,” she says of her mother. But the film also falls short here and there: why are only two of his four wives discussed in detail and only their names mentioned of the other two? That predilection for women – often girls – who could have been his daughter or even granddaughter is not explained either. Is that a childhood trauma? Who knows may say.

While ‘The Real Charlie Chaplin’ doesn’t provide any new information about Chaplin, it does provide a comprehensive and expertly crafted account of the rise and fall of one of the most iconic movie stars of the twentieth century. The documentary underlines once again that people who make a living from jokes often lead not such a cheerful life in everyday life.

Hollywood Full Movies

Full Movie: Hatton Garden: The Heist | Full Movie | Crime Drama | True Story

Hatton Garden: The Heist | Full Movie | Crime Drama | True Story

Hatton Garden: The Heist – Following the lead up to one of the biggest robberies of the century, Hatton Garden The Heist watches the journey of Brian Reader, John Collins, Terry Perkins, Daniel Jones and the mysterious Basil throughout the audacious heist.
2016. Stars: Michael McKell, Sidney Livingstone, Robert Putt.

Actualizar Archivos Dll

Cómo Restaurar un Archivo dll de DirectX Faltante

Sí, deberías poder hacerlo, dependiendo de los componentes instalados necesarios para tus proyectos. Delphi utiliza el sistema MSBuild para el motor de construcción y por lo tanto, se requiere un archivo de proyecto nuevo si actualizas desde la versión 2007 o anterior. No obstante, el IDE actualizará tus proyectos al nuevo formato sin inconvenientes. La versión 2006 incluía código con licencia de terceros que ya no está disponible para su envío. Los productos C++Builder 5 y anteriores fueron discontinuados hace años y no tenemos previsto relanzarlos.

  • El administrador de tareas tiene ahora una acción especial para ello.
  • Un archivo DLL puede ser utilizado por diferentes programas si lo necesitan, lo que elimina la necesidad de múltiples copias de la misma información.
  • En ocasiones, cuando necesitamos tranquilidad y que nada nos moleste, lo primero que ponemos en silencio suele ser el móvil, pero con Windows 10 no es el único dispositivo que tendrás que mutear para que nos deje trabajar sin interrupciones.
  • Suscríbete a la Newsletter y recibe las Novedades cada semana.

Es la versión básica de Windows, con las funciones más relevantes para un usuario normal. Todavía es bastante utilizado, aunque a muchos de nosotros no nos gustó nada esa gran orientación a tablets y dispositivos táctiles. Perdimos ese buen menú de inicio clásico por uno que ocupaba la pantalla completa, aunque con él la arquitectura de 64 bits fue prácticamente la predominante.

Error con iPhone explorer iTunesMobileDevice dll

También puede considerar deshabilitar la optimización de entrega de actualizaciones de Windows en Windows 10. Esta es una característica de igual a igual que Windows 10 usa para compartir actualizaciones entre PC en la misma red.

Somos especialistas en reparación de portatiles

Conforme Google lanza una nueva versión de Chrome, elimina de sus servidores la inmediatamente anterior. De esta forma se asegura que los usuarios siempre están utilizando la versión más moderna de Chrome, versión que incluye parches de seguridad que se han detectado en versiones anteriores. Sin embargo, también aprovecha para cambiar el funcionamiento de alguna función o directamente eliminarla, lo que puede llevar al traste nuestra productividad. Aunque Google no nos permite descargar versiones anteriores, podemos visitar alguna de las diferentes páginas web que se encargan de descargar y conservar estas versiones como es el caso de Slimjet. También podemos desactivar las actualizaciones automáticas de Chrome desde la Configuración del sistema.

Es sí, no es recomendable que los usuarios con pocos conocimientos accedan a estos parámetros. Ejecuta el script como administrador y listo (botón derecho del ratón encima del archivo y Ejecutar como Administrador), el servicio de actualizaciones automáticas se deshabilitarán. Esto abrirá una ventana con una amplia lista de servicios disponibles con el sistema operativo Windows 10, entre los cuales debes buscar “Windows Updates” y seleccionarlo con un doble clic. Ahora que ya sabes cómo Valve dll desactivar las actualizaciones automáticas de Windows 10 te dejamos el análisis más completo en vídeo del nuevo sistema operativo de Microsoft. Para todos los demás, entraremos en detalle sobre las 3 mejores formas de desactivar las actualizaciones automáticas en este post.

English Reviews

Review: Splendid Isolation (2022)

Splendid Isolation (2022)

Directed by: Urszula Antoniak | 80 minutes | drama, romance | Actors: Anneke Sluiters, Abke Haring, Khadija El Kharraz Alami

On the run from an unknown disaster, two women, Anna (Khadija El Kharraz Alami) and Hannah (Anneke Sluiters), wander a remote island. A large drone is chasing them. Anna whispers to her friend: “nothing will ever happen to you”. The two peddle along the beach and through the dunes until the couple stumbles upon an abandoned villa. For a moment they have a place to hide. But this respite is soon interrupted by the arrival of a mysterious person. ‘Splendid Isolation’ by the Polish-Dutch director Urszula Antoniak is a prickly visual poem with more white lines than ink in which the viewer can frolic around.

The film is as chilly as the villa in it, a concrete cube with minimalism as its credo. It must have been the intention. The story is in any case extremely sparse with information. However, it is better for Anna and Hannah to dig about in the sand of the dunes, touching all that is left in a world where intimacy with the other seems to be life-threatening. That too is taken away from the couple. Air squeezed from the lungs, essential for the individual, disastrous for the other.

There we have again the third person who, just like in ‘Magic Mountains’ (2020), threatens to ruin things. However, before this disturbing factor appears, the rather abstract ‘Splendid Isolation’ mainly has a bleak, almost impenetrable appearance. Many views and few words. The use of video images from drones and security cameras gives an extra eerie feeling. Images that overlap like a thin veil also reinforce the isolation of the characters. The film would rather chase you away than tempt you to enter. The soundtrack, on the other hand, is full, sometimes even warm, as if trying to allay the cold between Anna and Hannah. Director Antoniak herself says that the confrontation with the loss of her partner during the corona pandemic played a crucial role in the realization of the project.

Every now and then Antoniak comes up with poetic and penetrating images, but the overall picture lacks clarity about what she really wants to say about loss and grief. The coming of death does not breathe new life into this either. This project ‘Beyond Words’ (2017) and ‘Nothing Personal’ (2009), as in the titles, does not seem to have the strength of Antoniak’s earlier works. What remains is a horribly desolate work, closer to the painting ‘The Scream’ (Edvard Munch, 1893) than you would like.

English Reviews

Review: Bing’s Animal Stories – Bing’s Animal Stories (2021)

Bing’s Animal Stories – Bing’s Animal Stories (2021)

Directed by: Nicky Phelan, Declan Doyle, Mikael Shields | 71 minutes | animation, family | Dutch voice cast: Teun Batenburg, Zahra Boomsma, Joanne Telesford, Famke Telderman, Nout van Heusden, Cystine Carreon, Beatrijs Sluitjer, Jan Elbertse, Ingeborg Wieten, Florus van Rooijen, Tineke Blok, Juus Piek, Peggy Vrijens

Bunny Bing and his friends are back for the second feature film adventure. After ‘Bing’s Christmas and other stories’ (2019), the market for toddler films was not yet saturated. Just like the first cinema film, ‘Bings animal stories’ (2021) is an excellent and educational pastime for three- and four-year-olds. For many two-year-olds, the cinema is perhaps still a step too far, but then the home entertainment release offers a solution.

Connoisseurs of the series and the first movie already know the setup. ‘Bings animal stories’ consists of seven short films, in which Bing learns something in a playful way. The overarching theme in this film is, of course, animals. Pico is looking for stickers, where the shape in the picture book already gives away somewhat what kind of animal is wanted. Between the videos, toddlers receive extra basic lessons, such as counting, a maze and how to be quiet.

In the first cutscene, Flop and Bing go to the park to throw a ball. An unexpected playmate arrives when they discover a dog. The dog is lost. Flop teaches Bing how to deal with (unknown) dogs, because some dogs can be dangerous too. When Bing and Flop befriend the dog, they play with the ball together. But then the owner comes to look for the dog. Bing is briefly disappointed because he is not allowed to keep the dog, but of course there is a solution.

In the second story, Bing, Flop, Pando and Sula turn the barn into a playhouse. In doing so, they learn what recycling is and what advantages it has. Once the cottage is furnished, Bing discovers a bird’s nest in the house. They go looking for the mother. When they have found these, they are faced with a dilemma. If they use the playhouse, the bird will no longer go to its nest. Also in ‘Ducks’ is taught what animal love is. Flop tells Bing and Zula how best to feed ducks. The trick is not to make too much noise, a lesson Bing learns only after a large goose approaches them.

Dealing with disappointment is also something that not many toddlers have yet mastered. It happens to Bing in “Fire Truck,” when his friends in the park get the chance to see the inside of the fire truck. When it’s Bing’s turn, the fire truck suddenly has to go to an emergency. Bing is terribly disappointed, but on the way home, they see what the fire truck has been called to do (don’t worry, nothing scary, it’s about the kitten Arlo that needs to be rescued from a roof).

In the next cutscene, Sula and Bing help Flop in the garden when they discover a frog. That’s great fun. Wanting to keep her, Bing invents a frog house for the frog. But what does a frog find important in a house? There is a good chance that that is not milk, grapes, a bed and a leaf of lettuce. Bing and Sula learn that every animal has different needs.

In ‘Scribble’, Bing, Coco and Charlie are drawing. When Lili comes to visit, Bing decides to make a drawing for her, but then Charlie takes the drawing in an unguarded moment and scribbles on it. Bing is angry and disappointed that Charlie ruined the drawing, but Lili has a solution: the scribble game!

‘Cat’ is the last cutscene and in it Bing discovers that there is another cat walking around next to Arlo. When he wants to play hide and seek with this, the cat starts hissing. It shocks Bing, despite Flop warning him about this.

All in all, the seventy minutes running time of ‘Bing’s animal stories’ is over before you know it. The structure is well-arranged and thanks to the recognizable situations it is very much in line with the perception of young children. The lessons are useful and not annoying and what argues for the film is that toddlers also get to know the less fun sides of life, such as that you have to scoop poop if you have a dog.