In the streaming age, the Earth is flat-screen-shaped, with only a monthly subscription and a click away journey to a distant destination. But separating wheat from chaff can be difficult with so many options, and if you don’t know what to look for in the bouts of various national theaters and film industries.
So let me be your travel agent every month: I will travel in the world of streaming and choose the best new international movies for you. This month’s picks take you to Britain, India, Algeria (via France), Japan, and Spain (via Germany). If you feel intimidated by foreign languages, remember the sensible words of “Parsight “‘s Oscar-winning director Bong Joon Ho:” Once you pass an inch-long blockade of subtitles, you’ll find a lot more surprising Will be introduced as well. Films. “
We listen to the boisterous teenage girls of “Rocks” before watching them. Their affectionate banquets play on the opening credits, which is cut on a terrace in London, from where the girls stare at the city’s horizon. A stunning, distinctive 15-year-old film whose mother abruptly leaves, forcing her to be her own and her brother’s, “Rocks” Britain uses voices, voices and languages to encapsulate an absorbing portrait of the working-class immigrant community.
Roux (Bucky goat) is of Jamaican and Nigerian descent, and his friend group includes diverse nationalities and ethnicities: Somali, Romani, Bangladeshi, White. The girls’ interactions grapple with their cultural differences, while never losing the natural rhythm of adolescence. When Roux encounters speakers of other languages, their dialogue is unparliamentary, confidently capturing the lustrous fabric of a metropolitan city, where the familiar mixes with the unfamiliar.
Most of the film’s young actors, including Bakare, are first-time actors, but many are impressed by their superb performances: they seamlessly switch between revolt, seriousness, and fickleness. Even when director Sarah Gavron portrays a horrifying portrait of abandonment and poverty, she does not make any sweeping decisions about the film’s characters. Life, “rocks“ Recognizes, can be messy and difficult, but community bonds can sustain us when all else fails.
‘EB ALLOW OW!’
In this clever satire of India, a rural youth who had come to Delhi was doing a strange thing: shooing monkeys away from the city’s grand government buildings. This may sound like a scream out of a Tim Burton movie, but “eBay Allay Oo!” Real-life roles – Some supporting roles are also played by real “monkey repellers,” who specialize in guttural calls that give the film its onomatopoeic title.
As one of these giants warns our hero, Anjani (Shardul Bhardwaj), the job may seem like a streak, but the stakes are high. The workers are caught amidst the demands of ruthless contractors, snooty bureaucrats, animal rights activists and Hindus who keep the monkeys sacred. And as director Preetak Vats stresses through the bustling scenery of trains and tight slums of Delhi as a whole, Anjani is one of many precarious migrants trying to make a living in a precarious city.
But what sets “Eeb Allay Ooo!” The run-of-the-mill poor-drama drama is a mix of comedy and Rage taps it. While there is no harm in chasing the monkey, Anjani begins to be relegated to aspects of job performance, and the film’s serene tableau of working-class life soon gives way to dispel labor-class discontent. . Bhardwaj overthrew the outward spiral of his character, all of this in a frenzied prohibition set within a religious procession.
A wave of time and space like the sea in “South Terminal” directed by Algerian-French filmmaker Rabah América-Zemche. The plot reveals that we have been in Algeria in the midst of a bloody civil war for some time in the 1990s. But the film’s cobblestoned lanes and sun-drenched coastlines are from southern France, and glimpses of cellphones and new car models determine the period. Ameur-Zaachmeche never resolves these aberrations, rather than consciously making a pithy film that elucidates the repetition of history and the disturbing universality of violence.
Even the characters are nameless. The protagonist is simply a “doctor” (played with serious vulnerability by French comedian Ramzi Bedia), a surgeon who also keeps those around him away from the country’s growing communal conflict and surveillance. When he is kidnapped and forced to treat the rebel leader, he targets the army.
The film is violent and fast-paced, and still left eagerly, with the sound and down-to-the-moment worldliness of it. Ameur-Zaeurmeche captures the resilience of ordinary life caught in the cross-fire of war, while military outposts and scenes of sea exodus point to echoes with contemporary crises of migration.
‘Any Crybeabies Around?’
Takuma Sato’s film is titled Nahage: Folkloric Ogres who visit homes on Japan’s Oga Peninsula every New Year’s Eve to scare children and teach them good rites. Tasku (Taga Nakano) is one of the young men who donate demonic masks and straw hats to implement this annual ritual – until one of his runs, he embarrasses himself on live TV. (How I Won’t Worse, this is an excellent exercise in straight-up Kraang comedy.)
“Any crybabies around?” A few years later, when Tasuku is living in Tokyo, he is married to his wife and child. But when he hears that they are struggling to make ends meet, he returns to his hometown to reconnect with his family and win back to his daughter’s life.
Breaking folklore with a man-child classic film trope, Sato demonstrates a thoughtful meditation on isolation and masculinity and the illusion of male savior. Nakano tries to strike a difficult balance with Pius, whispering to Tasuku, who invites our sympathy with his sincere hope for change. It is Nahamge who gives him some liberation at the end, and the scenes showing him are some of the best in the film: gorgeous choreography of color and slow motion, set to the beat of woodblock and drums.
‘for the time being’
German woman Larissa, with her 9-year-old twins, arrives in the Sierra Morena mountains of Spain, home to her husband’s family, where her mother-in-law and sister-in-law lead a quiet, secluded life. Her husband is scheduled to join her soon, but when her flight is delayed, three women and two children spend their time waiting for her arrival.
It is the entirety of what was described in Salka Tiziana’s “For the Time Being” as a “plot”, an atmospheric, slow-burning feature that makes the inequality somewhat thrilling. Larissa (Melanie Straub) and her in-laws communicate awkwardly during a language barrier, while the boys (John and Ole Bader) eagerly explore the lush road. The film’s growing intrigue refers to sensory stimuli rather than narrative. Nearby wild animals flicker in the air, and a military test prevents strange explosions from passing. As soon as no news of the father arrives, Tiziana alternates between drone shots and cracking fills the characters’ uncomfortable limbs with natural sounds (intoxicating winds, chirping sobs), 16-millimeter images of sunlighted landscapes. It is a beloved film to watch at home during an epidemic, both for the transportation of the hills, and for its depicted depiction of peace and anticipation.