The Film Movement DVD release of the 2016 Israeli DVD "Harmonia" makes a well-orchestrated tale of Biblical proportions more accessible to North American audiences. The clever concept is that demanding conductor Abraham and his harpist wife Sarah enlist French horn player/Sarah bff to be the surrogate parent of their child.

The official accolades for "Harmonia" include three wins at the 2016 Jerusalem Film Festival.

The following Movement trailer for "Harmonia" shows how writer/director Ori Sivan masterfully blends the Bible story, the behind-the-scenes look at an orchestra, and the operatic melodrama of the movie. 

Our story begins with the advocacy of Sarah playing a big role as to independent spirit Hagar getting hired. The former soon subsequently takes the new girl under her wing to the extent of bringing that essentially lost puppy home.

Hagar learning of the near impossibility of Sarah having a baby leads to the aforementioned surrogacy. This leads to the birth of Ben, whose teen years provide some of the best entertainment in the film. This rebellious excitable boy literally and figuratively dances to a tune that differs from the one that his father selects for him. Even when obeying, Ben insists on doing things his own way.

An oblivious Ben bonding with Hagar and proving like mother, like son adds another interesting element. Meeting another member of the family provides special delight. 

Adding a baby brother to the mix further complicates things; Ben reasonably believes that the younger child is the favored one and reacts accordingly; one of many telling scenes is Ben blowing his horn into the crib of his sibling.

Sivan expertly brings all this to a satisfying conclusion that shows that the kids (and the parents) are alright. The lesson this time is that families have faced the same issues since Biblical time (and before) and that things only are getting more complicated. 

The Film Movement DVD release of the 2009 Argentinian drama "La Boyita" (nee "The Last Summer of La Boyita") awesomely enlighten as it entertains, The tale of tween girl Jorgelina checks all the boxes regarding this game of adolescence Bingo. 

The nine festival wins for this well-produced movie with a truly unique perspective include well deserved Best Film, Best Cinematography, and Best Supporting Actress awards at the 2010 Cartagena Film Festival.

The following Movement trailer for "Boyita" expertly does its job of enticing the viewer without revealing any major spoilers. 

The summer of growth around which "Boyita" is centered begins with  Jorgelina living with her mother and her older sister; finding an anatomy book at the same time that the elder sibling is becoming a woman triggers new thoughts in Jorgelina. Thoughts that include feeling like a tag-a-long prompt Jorgelina to travel to the ranch that her father owns as a side business of his medical practice.

This trip reunites Jorgelina with sweet and sensitive peer Mario, who is a ranch hand. His growing pains include a rite of passage in the form of an upcoming horse race that is intended to prove his manhood. The obstacles include cruel taunting from local boys who are more mature in mind but not body.

Meanwhile Mario is experiencing embarrassing unexplained bleeding that coincides with his concern as to his physical development that is important to every man over the age of 12. His confiding in Jorgelina creates angst as to her wanting to honor the wish of her friend to not tell anyone in contrast to her desire to have her father help the boy.

The final reveal is a revelation for both the characters and the audience. It provides an excellent study as to the role of gender in society and the challenges that can result as to that sometimes delicate subject. 

All of this amounts to "Boyita," like most Movement films, showing that a charming story with good talent behind and in-front of the camera makes for a better movie than one that caters to the lowest  common denominator. 

Film Movement Classics once more makes indie-god parent Film Movement particularly proud as to the meticulously pristine DVD of the 1976 Italian melodrama "L'Innocente." This wonderfully highly emotive film epitomizes the dilemma regarding whether to throw out the baby with the bathwater.

The following Movement trailer highlights the artistry in this grande finale for filmmaker Luchino Visconti; we also get a strong taste of the sordid lifestyles of the rich and famous theme that permeates the film.

Our story begins on what essentially is a night at the opera. Philandering husband Tullio (Giancarlo Giannini) is attending a form of pay-for-play event with his lady-who-lunches spouse Giuliana when mistress Countess Teressa Raffo (in a spot-on performance by Jennifer O'Neill) provides the ultimatum of either leaving early with her or forfeiting any future nights of illicit passion. The ensuing events clearly shows who wears the period-piece pants in these overlapping relationships.

A very true dat moment follows on Tullio and Giuliana having not quite pillow talk the morning after, Tullio saying that love transforms into things such as respect and affection over time especially hits home after many of us have had significant others around essentially 24/7 seven months and eternally counting. 

The game changer comes on Tullio brother Federico bringing author Filippo d'Arborio along for a family visit. Meeting this new friend prompts Giuliana to take a gander at what is good for the goose. Borrowing a page from the tale of another tumultuous relationship, Tullio decides that the perceived act in question is only repulsive when it is done to him. The other woman also asserting herself does not help matters.

Giuliana subsequently finding herself with child creates drama of Biblical proportions; the clear lack of fatherly-to-be regard by Tullio provides some of the best moments in the film. This extends to a directive to take not even very drastic measures as to a hiccup in the pregnancy.

Visconti saves the best for last as to his depiction of the shock-and-awe that dominate roughly the final 30 minutes of the film. This begins with a particularly dastardly act followed by a highly dramatic act of contrition. 

The morals this time are that everyone who marries for money dearly pays for that decision and that karma is not the only bitch that can ruin the life of a dirty rotten scoundrel. 

The bonus feature "Reframing L'Innocente" has author Ivo Bloom sharing his expertise as to Visconti filming the movie in a manner that optimizes the symbolism and the related impact on the audience. The 16-page booklet by writer Dan Callahan provides additional perspective.

The Film Movement DVD of the 2018 Asian drama "Complicity" provides more proof that world cinema is global regarding its relativity. The theme this time is a post-adolescent man seeking a better life in a new country. 

The following Movement trailer for "Complicity" offers a good primer on this story with shades of "The Karate Kid;" it also highlights the artistry in front of and behind the camera.  

Our story begins with otherwise nice young Chinese man Chen Liang committing a criminal act to finance the purchase of a black-market cell-phone and a fake ID.

The ID is central to the effort of Chen to emigrate to Japan. His first obstacle to starting his new life is overcoming his inability to pay the premium associated with buying "a real fake ID" that is associated with an actual person. This resolution reflects the ass, gas, or grass philosophy that prevents anyone from riding for free.

On arriving in Japan, Chen essentially is a squatter among others living on the fringes of society. The next big development is his becoming Liu Wei the soba chef apprentice formerly known as Chen Liang. This job comes with both room and board.

The "Karate Kid" element enters in the form of the "sagely mentor," who owns the restaurant and operates it with the help of his adult daughter. It is clear early on that this master chef knows that his current employee and future mentee is not whom he claims to be.

The sweet love interest enters the picture in the form of student Hazuki, who gets more than she bargains for when ordering a delivery from the restaurant. She also innocently proves that dames ain't nothin' but trouble when she inadvertently blows the cover of the object of her affection.

A series of flashbacks and calls to Mom tell the rest of the story. Chen is escaping a repressive environment in which he is living with his not-so-well mother and his not-so-nice grandmother. These scenes additionally establish that the folks back home know that Chen is in Japan but otherwise are victims of a not-so-elaborate scheme.

Arguably the most cute scene in "Complicity" redeems Grandma. She first sneaks a wad of bills into the pocket of Chen on seeing him off and then insists that he take the money on his discovering that kind gesture, 

Writer/director Kei Chikaura deserves great credit for not overdoing the climax; the highly predictable build-up to the house of cards that is Chez Chen tumbling down is done relatively gradually and without the frantic chase through the streets and/or the being dragged off in bracelets that one would expect in this type of tale. It further is nice to see that at least  one person in the life of our likable lead realizes his true character.

As always is the case when Movement includes a bonus short film in a release, Movement chooses wisely. ""About Bintou" is a well-produced documentary about an African woman who is a stranger in a strange land in that she is studying in China. 

Film Movement offers "haves" a look at the world of inner-city "have-nots" by releasing the "Precious" style 2019 drama "Goldie" on DVD. The more relatable message is showing how things can quickly fall apart for anyone, 

The following Movement trailer for "Goldie" provides a good sense of the urban sense and sensibility of the film.

The day of our titular teen begins on a high note at a community center talent show. Her downward spiral commences on her mother being arrested soon after Goldie returns home. This triggers the flight of Goldie and her much younger sisters Sherrie and Supreme that is a central theme of the film. Another underlying story is the quest of Goldie for a full-length bright-yellow furry coat that proves that beauty is in the eye of the beholder. 

An early adventure is the only low point in this film that minimally will make viewers sympathize with the leading lady. Goldie arriving at the department store where she works only to quickly get fired and then lead security guards on an absurd chase through the aisles of the store that likely will provokes such as "is this Scooby (very bad word) Doo?" 

Goldie then does her best both to find a temporary home for his sisters and to keep the family together; This effort is a major source of the aforementioned good feelings towards Goldie. This campaign leads her through the typical interconnected worlds of drugs and men sexually exploiting vulnerable women.

A related quest is starring in a hip hop video that Goldie figuratively sees as a ticket to living the good life in Westchester with her teacher. 

The bigger picture this time is that even "have-nots" that have it better than Goldie will appreciate that they could have it worse. 

Movement supplements this with the similar themed "We Love Moses." This coming-of-age movie tells the tale of the relationship between a young outsider teen and the friend of her older brother. 

The Breaking Glass Pictures DVD release of the 2017 drama "Martyr" has the live-stage vibe that separates the wheat from the chaff. This tale of an aimless failure-to-launch 20-something additionally can be considered a neo-modern fable, 

The official accolades for "Martyr" include "Best Artistic Achievement" for writer/director Mazen Khaled at  the 2018 Alexandria International Film Festival. 

This wonderfully surreal film begins with titular post-adolescent Hassane dreaming about drowning and other things to come. His literal and figurative awakening from his slumber on a mattress in the dining area of his parents' apartment comes on his mother demanding that he get up and find gainful employment. This also involves a few of the most telling moments in the film. Suffice it to say that Hassane has virtually no shame and is very reluctant to engage in employment that is appropriate for his background. 

Breaking the Fifth Commandment, Hassane heads out for an afternoon by the sea with his band of beach brothers. This turns out to be more fatal than being welcomed to the working week.

This leads to a procession that evokes Christ being taken down off the cross. The aforementioned friends bring Hassane home, and we witness both the rituals associated with preparing the body and the funeral itself, 

All of this provides a glimpse of the global mind of a Millennial who lacks a bright future. We further learn more about the nature of the titular sacrifice.

Breaking supplements this with the Khaled short film "A Very Dangerous Man" about intrigue in 2012 Beirut.

The Film Movements Classics division of Film Movement pristine Blu-ray release of the 1993 slice-of-of-life comedy "Caro Diario" is the latest example of introducing audiences to one of the greatest movies that many of us never knew existed. The awesome Classic (reviewed) release of the Salma Hayek film "Midaq Alley" also perfectly illustrates this aspect of Classic titles. 

The 13 wins for "Diario" include writer/director/star Nanni Moretti scoring the 1994 Cannes Best Director award.

The following "Diario" trailer highlights the three-chapter format of the film and the quirky charm of Moretti. 

"Diario" follows the apparent dual tradition of introspective Euro films of having much of the exposition come in the form of an ongoing inner-monologue of the central character in blocks. In this case, we get the wit and wisdom of real-life filmmaker Moretti in three distinct chapters of the titular journal. The manner in which this all ties together at the end of the movie validates the theory that Hollywood (and Portland) has a great deal to learn from the film capitals across the pond.

The first chapter finds Moretti having a "Roman Holiday" by cruising around his home turf on his scooter. His adventures include watching matinees at movie theaters, pontificating about film locations, and expressing his "oh what a feeling" exuberance as to the '80s mainstream hit "Flashdance." This relatively youthful exuberance includes an amusing encounter with a principal as to that no-reason-to-feel guilty pleasure.

The next chapter easily is the most amusing; Moretti goes island hopping in the context of meeting with a collaborator. The highlights include "Trip To" style teasing regarding a (presumably real) pan of a film.

We also see our (presumably childless) lead endure a visit to an island on which toddlers and tweens call all the shots. A few segments in which adults must try to make their way past prepubescent gatekeepers in order to speak to a 'rent on the telephone ring very true. Many of us who are old enough to remember landlines being the only option have had to endure the "little angel" who answers then puts down the receiver before going about his or her overheard business without telling Mommy or Daddy about the call.

The apt final chapter finds Moretti very frustrated as to getting medical professionals to adequately focus on a health problem to actually do him some good; the analogy of giving a patient a Tylenol for a brain tumor sadly is not very far off. 

As indicated above, this (presumably directly consecutive) several weeks in the life of Moretti comes down to his finding comfort in a variation of the talking cure. By that time, the audience likes him as much as the "professional friend" who directly has the being Nanni Moretti experience. 

As usual, the Classics extras prove that that distributor more than holds its own as to a company that has self-proclaimed itself as setting the criterion for these types of releases. These bonus features include a making-of featurette, a deleted scene, and a written essay on the film. 

The recent Film Movement DVD release of the 2018 Czech film "Winter Flies" proves that the theme of "Tom Sawyer" is both timeless and international. In this case, the coming-of-age occurs during a road trip in a stolen Audi.

The accolades for "Flies" include 4 major wins at the 2019 Czech Lions awards. 

Fourteen year-old stud Miara is commencing his odyssey when "quirky" armed and not-so-dangerous peer Hedus pops out and comes along for the ride. It does not take long for the Lennie and George dynamic to become apparent. 

An early adventure has the lads rescue a dog from a highly abusive owner; Things get more interesting when "Becky" in the form of Bara, who lacks any physical baggage but has plenty of the emotional variety, joins the group, This leads to the predictable development of Hedus making an awkward play and Mara being the one to get some action.

The inarguably best dynamic in the film is between Mara and Officer Freiwaldova, who serves as a cool mother figure. The narrative in "Flies" regularly shifts between Freiwaldova trying to piece together the relevant events and those actual incidents. She greatly succeeds in getting that kid to understand. 

All of this culminates in a climax that proves that there really is no getting through to teenage boys. Mara and Hedus remove any doubt regarding these guys being young, dumb, and full of "spunk."

The well-matched bonus short film "Jackie" deals with the same theme of strained parental relations as "Winter Flies."​

The Film Movement Classics division of arthouse legend Film Movement fully goes above-and-beyond as to the Blu-ray restoration of the lost 1961 Peter Sellers comedy "Mr. Topaze" (a.k.a. "I Like Money"). This flawless upgrade of the 35mm prints in the BFI National Archive allows current fans of social-commentary laden offbeat comedy to watch the successful directorial debut of Sellers. This tribute to a great follows the (reviewed) Classics BD release of Alastair Sims films. 

One spoiler is that the titular soft-spoken and quirky French school teacher (Sellers) is an early version of the Sellers character Chance the Gardener (a.k.a. Chauncey Gardener) in the MUST-SEE Sellers comedy "Being There." 

The aptly quirky Movement trailer for "Topaze" validates that this is a film that only Sellers could make in front of and behind the camera.​

We meet Topaze as a teacher of French descent at a small French school in a small French town; the opening scenes depict  him leading his students through the street  ala a mother duck. This concludes with a charming verbal quiz as to their field-trip destination.

The plot thickens on Topaze clumsily pursing the pretty young teacher, who is the daughter of the tyrannical headmaster, across the hall. This coincides with Topaze failing to convince musical-comedy star Suzy (Nadia Gray) to have her nephew enroll in the school. The final coffin nail is hammered in a hilarious scene in which Topaze shows that resistance is not futile as to his failure to bend to severe pressure to change the grade of a student even in a manner that allows the pretense that the upgrade is justified.

Meanwhile, Suzy and lover/corrupt council member (Herbert Lom of the "Pink Panther" franchise) Castel Benac find that the dupe on whom they are relying to allow Benac to secretly profit as to a government contract is not so stupid; suffice it to say that this guy knows the score and wants more than his share of the profits. 

The writing on the wall is neon as to the pair of schemers discussing the need for a front who does not know his back from his elbow. This leads to the newly unemployed Topaze becoming the figurehead president of the company of Benac. The subsequent lesson as to the wisdom of the fool has some parallels with "There." The bigger picture this time is that "Topaze" is the first of many occasions on which Lom greatly suffers at the hands of Sellers. 

The epilogue provides the best payoff as it becomes clear that the older and wiser Topaze clearly is the smartest guy in the room; this is not to mention the lesson that the loss of innocence can turn a puppy into a wolf of Wall Street. 

The plethora of extras begin with a crisp-and-clear version of the 33-minute Sellers short "Let's Go Crazy" with "Goon Show" co-star Spike Milligan. Sellers plays numerous characters ranging from Groucho Marx to a elderly society matron in this zany film that is fully set at a night club. The highlights include musical performances by some of the top acts of the day.

"The Poetry of Realism" is a video essay on Marcel Pagnol, who is the playwright of "Topaze." A 24-page booklet has essays on Sellers  and on the rediscovery of the "Topaze" prints at the BFI.

The Film Movement Shocktober 13, 2020 DVD release of the gothic thriller "Carmilla," which is based on the 1872 novella of the same name, is a great chance to enjoy Halloween-style fun during a time that it is not safe to go back in the water. This beautifully filmed equally atmospheric and symbolic tale awesomely tells a tale of inner and outer demons. Creepy spinster governess Miss Fontaine is the icing on the cake.

This tale of an infatuation that dares not speak its name centers around 15 year-old Lara, who lives a sheltered existence at the country estate where her father and Fontaine are her only companions. Youthful exuberance as to the anticipation of fresh blood in the form of a visit from peer Charlotte turns to disappointment as to learning that an illness is requiring postponing that event.

The story gets fully underway when the titular member of the carriage trade becomes an unexpected manor house guest on getting injured in an accident involving her apt transportation. The girls soon unexpectedly meeting in a shadowy room is one of the best scenes in the film.

An equally creepy scene that centers around the luck of angels as opposed to the luck of the devil is a close runner-up for the best scene in the film. 

Those of us with a 21st-century perspective quickly grasp the underlying nature of the affection of the innocent Lara for her new friend. We equally rapidly figure out that Carmilla is a skilled seductress. Fontaine subtly encouraging Lara to follow her heart is a wonderfully modern twist. 

The tale soon darkens on realizing the extent to which Carmilla seduces and abandons her prey. This leads to a compelling climax (truly no pun intended) in which Fontaine plays a major role. 

The artistry in all this extends beyond the spot-on performances by the entire cast; this thought-provoking tale is highly symbolic as to the evil nature of seducing someone who is pure into acting on a desire for a same-sex relationship. This is very much in keeping with commentary on sin in the gothic genre in the same manner that sexual activity determines the order of killings in slasher flicks.

Movement pairs "Carmilla" with the 2006 short "Three Towers" by "Carmilla" writer/director Emily Harris. This artistic black-and-white film takes a poignant look at 911 from the bickering perspectives of a European old farmer couple that cannot agree as to whether two or three towers were hit. The broad appeal relates to most of us relating either to the wife who constantly harps or to the husband who is the victim of this criticism. The very-strong live-stage vibe of "Towers" further enhances the appeal of this one. 

Movement augments all this with an entertaining and insightful 27-minute making-of feature (complete with audition footage) in which Harris and cast members discuss the film. Learning that the first two actresses to audition for the two leads do such a good job that they are quickly hired is one of the most delightful moments in this film that makes it clear that all involved were perfectly matched as to their on-screen and behind-the-camera roles.

The Film Movement DVD of the quirky 2018 French film "Ulysses & Mona" perfectly highlights the charm of Gallic art house movies and the Movement love of all things international. The awesomeness of this one extends beyond the strong live-stage vibe to being a film that literally and figuratively is easily transferable to North America word-for-word and shot-for-shot, 

The following Movement trailer for "Ulysses" provides a good sense of the odd sensibility that makes it so endearing.

Writer-director Sebastien Betbeder immediately catches our attention with an opening scene that has 20 year-old art student Mona and her adorable sheep-headed classmate in a nude-drawing class that clearly is not using this year's model. These future baristas who paint on the weekends have a highly amusing exchange about Mona not using the proper proportions as to her seemingly generous portrayal of the male subject du jour. 

Meanwhile back at the estate, 55 year-old former darling of the art world/current recluse Ulysses Borrelli is spending most of his days hitting tennis balls flung at him from an automated machine. We quickly learn that the demise of his marriage is tied to his retirement from highly regarded career.

The worlds of our leads collide when the younger searches out the elder. The journey into the woods initially introduces Mona to misfit child Arthur, whose eccentricities include calling Ulysses Dracula.

Although initially rebuffed, things dramatically change on Mona taking another bite at the apple. She returns to find her idol in dire straits. This ultimately leads to an epic journey of Ulysses accompanied by Mona. 

The purpose of the trip is for Ulysses to mend strained relationships in his life; the purpose of Mona accompanying him is to guarantee that he will go through with it.

The first stop is at the McJob workplace of 20-something Nicolas; suffice it to say that the reunion is not a happy one. Mona does help smooth the waters.

Our pair next drops in on ex-wife Alice, who clearly has moved on. 

A relatively raucous night before returning home creates more excitement before coming home to find that Ulysses is a person-of-interest in not a good way. This, in turn, leads to another trip into the woods that leads to closure for all.

As always is the case as to Film of the Month Club selections, Movement pairs "Ulysses" with an apt short film. "Wolf Carver" has the titular grumpy middle-aged artist take his Mona on a road trip through Finland; in this case, the unpacking of copious baggage is highly symbolic. 

Film Movement division Omnibus Entertainment reminds folks who realize we've come a long way, Baby where it all begin; this herstory lesson comes in the form of the DVD release of the 2018 documentary "Holly Near: Singing for Our Lives" by 4-time Emmy winner Jim Brown. 

Readers to whom this release seems to be a case of herstory repeating herself may recall that "Near" has run on the PBS series "American Masters." 

The following Movement trailer for "Near" provides a glimpse of both the star-power of the talking heads and the life, the music, and activism of the subject.

At the root (pun intended) of the matter, the Near style is a blend of country, folk, and gospel with a strong feminist message. The feature music includes a song about the love that Near feel for a woman decades before Katy Perry sings about kissing a girl and liking it.

"Hanoi" Jane Fonda discusses meeting Near when the later joins the former for a Vietnam-era anti-war traveling show that intentionally is the polar opposite of the Bob Hope USO tours. Clips of the Fonda revue shows the designing women who put them on had as much fun as the audience.

We also learn how Near develops a close friendship with legendary feminist Gloria Steinem after being among the first group that Steinem publication Ms. magazine honors as a woman of the year. The comments of Steinem extend to discussing how Near provides the feminist movement its anthems. 

The arguably brightest star power in the form of Kevin Bacon inarguably is relative; his DVD bonus interview discusses how his cousin Holly making it big is his first introduction to show business. His segment in the main portion of the film includes a clip in which their family recently performs a show in which they cut loose, footloose. One spoiler is that they do not kick off their Sunday shows.

We get an glimpse of another family that sings together to help stay together ala a few clips of a guest appearance of Near as a pudgy feminist high-school classmate of Laurie Partridge on the '70scom "The Partridge Family." The self-depricating fat jokes that prompt smiles from the cast further show that we have come a long way, Baby, since the era of bell-bottoms and puka-shell necklaces. (Yes, at least one very young boy wore one because Keith Partridge did.)

The copious DVD extras extend beyond 30 minutes of interviews; we get live performances of the Near songs "One Good Song" and "Somebody's Jail." 

The recent Film Movement Blu-ray release of the Oscar-nominated 2019 Polish movie "Corpus Christi," which has 49 awards to its credit, further solidifies the pandemic-era sentiment of "cineplexes; we don't need no stinkin' cineplexes." A large portion of this love comes via the 2020 Polish Film Awards. 

Most of this success is attributable to the spot-on performance of Bartosz Bielenia as 20 year-old former juvie inmate Daniel. The accolades for him include a Best Actor win at the 2019 Chicago International Film Festival.

The  following Movement trailer for "Corpus" provides a taste of why this film, which looks and sounds terrific in Blu-ray, has such critical acclaim and why Movement deserves great thanks for making it highly accessible to audiences in North America.

Our story begins with Daniel serving the final days of his unfortunate incarceration. An opening scene in the facility woodworking shop graphically shows both the sadistic cruelty of the place and the kindness of Daniel.

More important exposition comes when Daniel attends Mass conducted by father-figure (no pun intended) Father Tomasz, who knows how to reach those kids. An amusing aspect of this is the universal valued treat of the promise of holding class outside. Tomasz telling Daniel that his criminal record precludes acceptance at a seminary provides the final element for what is to come. 

Daniel is set to begin his probation-related job in a small rural community when a chance encounter that involves both pride and other elements that contribute to youthful indiscretions leads to telling the barely legal daughter of the resident church lady that he is a priest. A series of unfortunate circumstance soon lead to Daniel temporarily taking over the parish. The expectations-defying backstory there is one of many things that make "Corpus" so special.

The local drama into which Daniel becomes immersed revolves around a recent fatal car accident between a group of local kids who were out getting footloose and a middle-aged man with a history of alcoholism. This time the youth of Daniel plays a role as to the sanctioned hostility toward the widow of the man and the posthumous disdain for the guy, who was not proven to be drunk at the time of the accident. Daniel soon learning the rest of the story does not help calm the holier-than-thou waters. 

One of the best scenes has Daniel hanging out Christ-style with his peers; this group of bored, young, broke townies engage in the behavior that is typical for such groups, This also involves one of the most memorable lines in the film as to one particular illicit substance being a gift from God. This observation adds a new perspective regarding church services involving overwhelming amounts of incense. 

Daniel further makes waves by directly and indirectly taking pages from the book of Tomasz while preaching to the choir and the rest of the congregation. The message here is that all clergy should speak from the heart and show the same youthful enthusiasm as the new kid on the block.

It is not surprising that the past (and the subterfuge) of Daniel come back to haunt him. This relates to the only aspect of "Corpus" that requires blind faith regarding suspension of disbelief as to Daniel pulling off this fraud for weeks without even the regional church hierarchy becoming suspicious. 

Daniel responding to the threat of exposure in a manner that is very true to his personal nature and his faith is another highlight. One almost expects him to hop up on a cross and hand his malicious accuser a hammer and a handful of nails.

Both the quality of "Christi" and it being filmed overseas reduce the chance of a Hollywood ending.

The Blu-ray extras include the well-matched short film "Nice to See You" by "Corpus" director Jan Komasa. 

The Film Movement Classics division of Film Movement Blu-ray of the 1995 Salma Hayek film "Midaq Alley" has EVERY element that makes it a perfect film. This begins with a young attractive cast that has someone for everyone, a telenovela vibe that provides no-reason-to-feel-guilty pleasure, and high-concept in the form of being based on a novel by Nobel laurete Naguib Mahfouz. The IDEAL blend of humor and drama of both the melo and regular varieties is the topping on the fried ice cream. There truly is not a dull moment. 

The crystal-clear images and audio (not to mention a behind-the-scenes feature and a written essay) in this restoration further make this one well worthy adding to your video library.

The impressive 27 festival wins for "Midaq" include several awards at the 1995 Ariel Awards in Mexico.

The  below Movement trailer for Midaq Alley highlights the exceptional quality of every aspect of the film.

In addition to an awesome live-stage vibe, "Midaq" evokes strong thoughts of the similarly themed 2006-09 BBC serial series "The Street" that tells the inter-connected stories of the residents of a London neighborhood. Both productions do an excellent job keeping all the players in play and showing how their lives overlap. 

"Midaq" centers around the neighborhood bar that Don Ru owns and operates. This watering hole truly is a place where everyone knows your name (and your business).

A brief glimpse of the life of Ru and of his 20-something son Chava is the tip of the iceberg that provides a good sense of the "Midaq" style. The blatant Freudian aspects of that relationship begin with Ru being disappointed with the poor work ethic of Chava, who obsessively dreams of moving El Norte. 

The disappointment of Ru regarding his offspring is an element as to developing a friendship with benefits with a young clothing store clerk whom is closer to what Ru considers an ideal son. The  extent to which Ru and this post-adolescent express their mutual affection contributes an ick factor on a couple of levels.

The desired traveling buddy of Chava is Abel, who is a local barber obsessed with local beauty Alma (Hayek). Of course, Alma drives plenty of drama herself.

The ripples extend from there to the opportunistic bartender, the horny spinster, the tarot card reader, etc.

The big picture this time it that "Midaq" is both compelling and funny because it is true. 

The recent Film Movement DVD release of the 2019 drama "Temblores" is the perfect Pride Month movie for anyone over the age of 13 who is anywhere along the Kinsey Scale. Writer/director Jayro Bustamante not sugarcoating anything and opting out of a Hollywood ending alone make the film one to watch.

The 13 festival wins for "Temblores" further speak to the quality of this film that IMDb describes as follows. "The coming out of an evangelical father shatters his family, his community and uncovers a profoundly repressive society."

The below Movement trailer for "Temblores" highlights the live-stage vibe of this compelling story about upper-middle class middle-aged Pablo choosing a relationship with working-class Francisco over his life with well-heeled and well-bred wife Isa and their two children.

Our story begins on a highly melodramatic note; a clearly frantic Pablo rushes home and ignores the intervention-style gathering of relatives to lock himself in his bedroom. This, of course, prompts great concern by the assembled group. Many who are familiar with real or reel gay trauma and drama can predict that the cause of death-of-a-beloved level angst relates to a gay issue. Blatant symbolism as to this includes a literal tremor literally threatening to bring down the house as Pablo and his family contend with his new normal. 

The resulting bedside confrontations range from heart-felt sympathy to not-so-righteous indignation as to Pablo being a fallen man in this particular sense of that term. The fact that that Pablo remains stricken and distraught without overdoing it is a primary example of Bustamante keeping it real.

The action then shifts to somewhat grungy bar where Francisco simultaneously introduces his new significant other into both his life and "the life." Although Pablo does not seem to have buyer's remorse, it is clear that he is experiencing an especially rude awakening. This relates to the frequent "Temblores" theme of many gay men not having it easy. 

All this leads to Isa prohibiting Pablo from having any contact with his children; this coincides with a wolf in sheep's clothing not-so-subtly moving toward filling the Pablo-sized void in the life of Isa; truly no double-entendres are intended.

A relative calm in the middle of the film leads to a rebuilding of drama as the true sexual orientation of Pablo increasingly is seen as an addiction by his family. Intense distress as to all that he has given up prompts our family man to enter conversion therapy that ironically seems as if it would result in even the most straight man in the world to lose all interest in women. 

This leads to the aforementioned not-so-happy ending in which Pablo decides the extent to which he will sacrifice the needs of the few to satisfy the needs of the many. 

Movement supplements "Temblores" with the short "Black Hat," which is the Film Movement Award winner at the 2019 San Francisco Jewish Film Festival. This less dramatic look at a family man on the gay end of the Kinsey Scale uses the titular head covering as highly symbolic as a religious item and the public persona of the man. The hat coming off allows him to be more true to himself.​

The Film Movement Classics division of Film Movement expands a recent Eurocentric pattern that largely consists of vintage films from Ealing Studios and/or Alistair Sim, which are reviewed in the Film Movement section of this site, to separately release the French tragromcomdram "Serie Noire" on DVD and Blu-ray on April 14, 2020. Adding "Serie" to the incredibly broad Movement catalog provides a chance to see why Time  Out considers it one of the 100 best French films of all time. 

The '70stastic realistic grittiness of "Serie" looks especially good in the remastered Blu-ray edition right from the opening scenes of middle-aged door-to-door salesman Franck Poupart releasing his frustration before going to the seedy house of "la tante" in search of handyman/boxer Tikides, who is behind in his payment on a suit. This soon leads to Auntie bargaining with Franck to give her a quilted robe in exchange for a tryst with her niece Mona. It is clear that this is the not the first time that Aunty has engaged in this form of bartering.

The next scene in which Mona is resigned to taking one for the team but Franck is protecting the virtue of both his new friend and himself is one of the best in the film. It also is the start of a not-so-beautiful friendship between these two persons who are slaves in their own ways.

The additional desperate times that lead to the "Strangers On a Train"/"Throw Momma From the Train" style desperate measures revolve around Franck's wife Jeanne amping up her crazy and his boss Staplin taking a very hard line on learning that Franck has been skimming from the top, 

This is not to mention things turning equally personal and violent as to Tikides. 

The aforementioned plot revolves around Franck essentially using one stone for a murder of crows; this wicked deed largely goes off as planned but leads to wonderfully darkly comic fallout that involves all concerned.

The first awesome message of "Serie" is that you should never have an amateur do a job that requires a professional; a related message is that the boss always acts in his or her own best interest and never truly is the friend of an employee.

The home-video extras are the featurettes "Serie Noire, The Darkness of the Soul" and an interview with director Alain Cormeau and star Marie Trintignant (Moma). Classics also includes an always insightful written essay on the film du jour. 

The Film Movement DVD release of the 2017 drama "Outrage Coda" wraps up the underworld crime series of movies by Takeshi Kitano. Based merely on this one, it is clear that Quentin Tarantino lacks a monopoly on over-the-top bloody "mob" movies. In this case, the yakuza system is front-and-center. The fault as to not fully following every twist in this fast-paced chess game of a film lies within your not-so-humble reviewer, not with Kitano.

The following Movement trailer for "Coda" showcases the aforementioned wonderfully perverse violence that far exceeds the expectations of the 12 year-old boy in many of us. Another way of thinking about this is that it brings the spirit of "Itchy and Scratchy" into the live-action realm.

Our story begins on a typically deceptive low-key note; South Korean made-man Chang is chatting with a younger guy about fishing; this scene sets the stage for a more violent depiction of the middle-aged man and the sea. 

The story fully gets underway when Chang is called in to after yakuza middle-manager Hakuna is caught with his pants down during a tryst with a couple of prostitutes who do not want to play rough. Chang fully puts this blowhard in his place and sends him packing. 

Meanwhile back at the ranch, the yakuza boss sees the absence of Hakuna at an all-hands meeting as verification of his "I don't get no respect" attitude. Part of the basis for this is that this CEO has never been a guest of the Emperor or otherwise gotten his hands dirty. 

The subsequent intertwined plots revolve around a desire for a management change and an effort to obtain maximum profit as to compensating Team Chang for the offense of Hakuna. The negotiations as to the latter are hilarious in a manner that proves that made men have a great sense of humor.

The better fun comes in the form of mob violence that often is staged to not be as it seems. Such attacks including one in a restaurant and another in a car show that the classics never go out of style. 

All of this leads to a highly satisfying climax that provides a perfect conclusion to the film and the "Outrage" series. Hakuna learns a trifecta of lessons in the form of being doomed to repeat history when you do not learn from it, being careful about for what you wish, and the consequences of shooting off you mouth. Meanwhile, the fate of the yakuza boss depicts a fantasy for anyone who ever has had a toxic employer. One easily can say that his team is driven to this extreme. 

Movement supplements this with a "making of" documentary and trailers of Takeshi films that Movement has released on DVD and Blu-ray.​

The Film Movement Classics April 14, 2020 Blu-ray release of "Alastair Sim's School for Laughter" awesomely continues this division of art-house god Film Movement giving timeless British comedies their due. This release also expands the Classics catalog of Ealing Films that are reviewed in the Movement section of this site. 

The scope of "Laughter" is akin to the recent (equally bonus-features laden) Classics BD collection "Their Finest Hour." This reviewed set of five films showcases Ealing WWII- themed productions that include the original version of "Dunkirk." 

The following Classics trailer for "Laughter" expertly schools viewers in each of the films in a manner that showcases the wonderful deadpan humor of Sim, who arguably is best known for his standard-setting portrayal of Ebenezer Scrooge in "A Christmas Carol." 

The fun begins with the wonderfully titled farce "The Belles of St. Trinian's" (1954). Sim plays the dual roles of the headmistress of the titular girls' boarding school and her neer-do-well brother. The success of Sim in pulling off this feat is one of many examples of this skills in this set.

The overall theme of the "Belles" is that the student body is comprised of a group of feral females that strikes fear in the hearts of the locals. For her part, headmistress Millicent Fritton must contend with both the wolves of Wall Street constantly at her door looking for loan payments and a faculty that is comprised of a highly disgruntled rogues' gallery.

These factors (in addition to the new "Eastland" girls) converge in a perfect comedic storm that drives much of the "Belles" action. A faction that figuratively has a horse in the race is competing with another faction that literally and figuratively has a horse in the same contest.

The central conflict results in there being a dorm resident who is a real nag. 

Next up is the original "School  for Scoundrels" (1960). This wonderfully dark comedy has Sim shining as Stephen Potter, who runs the titular "College of Lifemanship" that teaches decent folks who repeatedly are victimized by "scoundrels" to learn how to get the larger end of the stick.

"Scoundrel" Delauney (Terry-Thomas of "Munster, Go Home" fame) repeatedly being the Bluto (or Brutus) to the Popeye of Henry Palfrey (Ian Carmichael) prompts the latter to engage in continuing education so that he can school his rival and regain the primary affection of "Olive Oyl."

Although the dead-pan classroom aspects of "School" are highly entertaining, the best scenes are the "before" and "after" ones between Delauney and Palfrey. Watching these men alternatively get the upper-hand over the other is timeless classic comedy.

The bonus features include an charming and insightful modern interview with a film critic. 

"Laughter in Paradise" (1951) arguably has the most social commentary in this quartet. Sim plays one of four potential heirs in this variation of both versions of "Brewster's Millions." The right of each named beneficiary in the will to collect his or her share of the loot is conditioned on completing a 28-day task that is directly contrary to his or her nature. 

The mission of secret pulp-fiction novelist Denniston Russell (Sim) is to commit an offense that will make him a guest of the Queen until 28 days later. Watching him question local law-enforcement as to what crime will result in that specific amount of time is amusing. A shoplifting effort that goes comically awry is hilarious. 

Classics aptly wraps things up with "Hue and Cry" (1947), which is the first Ealing comedy. Sim once again plays a paperback writer, whose fiction provides the basis for actual heists by a criminal gang. This tale centers around a teen Hardy boy and his gang that must thwart the bad guys on their own.

The surprise ending truly is that. The less good news is that it involves a serious beatdown of our excitable boy, who already has experienced undue physical and emotional batterings in his quest for truth, justice, and the English way. 

Classics supplements this with trailers and "behind-the-scenes" features on the films. We also get the usual, but far from typical, written essay on the topic du set. ​

The Film Movement DVD release of the 2016 Dutch erotic drama "Out of Love" adds to the mountain of proof that Movement provides regarding many themes being universal. A simplistic way of looking at this movie is that it a dark intense version of the Michael Douglas and Kathleen Turner comedy "The War of the Roses."

The wider perspective is that "Love" supports the theory that many relationships fail because neither person reveals his or her crazy until after exchanging vows. Another aspect of this is the cliche that opposites attract, This is from the perspective of someone who loves "I Dream of Jeannie" living with someone who prefers "Bewitched." 

"Love" opens on a charmingly flirtatious note as chef Nikolai and customer/manicurist Varya exchange increasingly intimate glances during her visit to his restaurant., This leads to a witty initial conversation that furthers enhances the live-stage vibe that runs throughout the film. The talents of our leads, who comprise most of the cast, further make you feel as if you are enjoying a night at the theater. 

Our love birds still are enjoying their honeymoon phase when they move in together. A hilarious scene in which Varya has a bad reaction to a meal by Nikolai is an early indication of trouble in paradise. A (confirmed) early sense that Varya is a bit unstable comes when she massively overreacts to an innocent observation by Nikolai.

In fairness to Varya, Nikolai being assertively (rather than aggressively) persistent when told not now is a valid basis for complaint.

A less relatable aspect of "Love" is the profession of Nikolai being a factor. Although many of us fantasize about having a partner who equally passionate (and skilled) in the kitchen and the bedroom as well as being very easy on the eyes, the reality apparently is not-so-great. 

The starting point of dissension is the long and the late hours of NIkolai. This leads to disappointments that include being left alone much of the time, Further, the inconvenience of eating dinner fashionably late is a legitimate gripe; the same goes for being served food that creates digestion issues. 

Varya cracks first; the heat-of-the-moment reaction by Nikolai makes a bad situation even worse; the ensuing events nicely show that residual love often exists even when it is time to seek a restraining order. We also get a telling moment in which Varya expresses an odd form of sorrow, 

The truth continues to the conclusion of the film. Our story ends on a note that does not fully resolve whether this couple determines they are happier being apart than they would be together. Folks who have reached that stage know that that answer can change even a few times a day. 

Omnibus Entertainment (which is a division of foreign-movie god Film Movement) wonderfully goes old school with the DVD release of the highly stylized 2013 black-and-white drama "She Wolf." This work of art visually and thematically evokes thoughts of French New Wave Cinema. The copious extreme physical and sexual violence against our damsel (who may not have a name) in distress alone surely precludes any Hollywood version of this story

This film opens with Damsel being the sub. in a relatively intense S&M sex session. The real climax of this encounter involves her poisoning Mr. Right Now; it soon becomes clear that this is far from her first trip to the rodeo.

Subsequently watching this predator in action proves that man is his own worst enemy. She merely throws out the bait by looking flirtatious;  the chum always approaches her completely unaware of their fate. 

The plot thickens on a neighbor confronting this praying mantis; he essentially tells her that he knows who she does all summer and that he is going to ensure that she is held accountable for her sins. Young and small relatively innocent Leo becomes the unlikely savior/buddy of Damsel.

Scenes in which the relative heights of Leo and his new girl shift provide some of the heavy symbolism in the film. The manner in which we effectively see the three faces of Eve is even more telling, As indicated above, "Wolf" is a far cry (pun intended) from "Basic Instinct." This dynamic extends to Damsel becoming a protector of Leo. 

Damsel fully becomes the prey when an undercover cop gets on her scent; his inept partner provides needed comic relief. A scene in which the cop stalks his prey in her hunting ground of the subway system provides some of the best moments of the film.

Of course, this leads to the noose tightening; the question remains whether the beast will break loose in this film that holds absolutely no allegiance to the Hays Code.

The bottom line this time is that writer/director Tamae Garateguy aptly puts a neo spin on one of the most artistic film styles ever. This modern approach awesomely includes the statement that women are equally whore and Madonna and that having their reproductive organs on the inside does not prevent them from being as brutal as men. 

Film Movement fully demonstrates its art-house cred. regarding the DVD release of the documentary "Narcissister Organ Player." This documentary about the titular performance artist reflects the spirit of this genre by provoking a strong or negative reaction. 

The following YouTube clip of a trailer for "Narcissister" highlights every element of the film. You get both a glimpse of the freakish theme of the performances and of the psychological bases for those works.

Love her or hate her, one must give Narcissister her due for her creativity and performance ability. The opening scenes demonstrate how she uses her trademark plastic mannequin masks and phenomenal agility to put on what even her biggest fans must admit is a freakish show, These displays are sure to provoke nightmares in small children, who are too young to watch an often topless woman pull items out of her vagina. 

The extensive narrative by Narcissister puts her art in perfect context. The starting point is that she is the mixed-race daughter of a Sephardic Jewish mother from Morocco and a black father from Los Angeles, who is a certified physics genius. Growing up brown-skinned among beautiful blonde-haired and blue-eyed people in Southern California also helps make our subject the woman she is today.

A particular manner in which Narcissister makes her use of plastic masks a statement is her portrayal of Marilyn Monroe. An element of this is the artist adoring the movie star during the youth of the former and having her parents inform her of the falseness of the idolized beauty, 

A rather vivid piece in which Narcissister relives her birth is one of the most symbolic scenes in the film; we also see her live out her fantasy of being a lady who lunches; the bizarre twist at the end is pure performance art. On top of this, we witness a freaky scene in which Narcissister portrays a grunge teen boy only to have things once again go in an even weirder direction, 

The strongest behind-the-scenes theme of "Narcissister" is the relationship between the woman of the hour-and-31-minutes and her mother. We extensively see and hear from the elder woman, who shows that the apple does not fall far from the tree. It is clear that Narcissister owes her maternal parent as much thanks for her fame as Christina Crawford owes Mommie Dearest for hers. 

Mom also is the center of a childhood memory that will gross out anyone who has ever had a mother. Suffice it to say that the scene that a young Narcissister inadvertently witnesses should be far more traumatic than walking in on parents having sex. This ties with a piece (no pun intended) that is an actual depiction of a piece of excrement as the most disgusting moment in this inarguably provocative documentary.

The bonus features provide the litmus test regarding this particular fandom. Folks whom Narcissister leaves wanting more will delight in the extended and deleted scenes of her performances. Viewers whom she does not enchant will decide that they have had enough.

The Film Movement Classics division of cinephile god Film Movement finds itself at the right place at the right time as to its March 31, 2020 release of "Their Finest Hour" coinciding with most of us entering at least a third week of house arrest; "The Shining" jokes stopped being funny several days ago.

"Hour" supplements a recent series of Classics Blu-ray releases of Ealing Studios comedies from the same era as the five WWII-related films that make up new releases. Posts on the comedies can be found in the Film Movement section of this site. 

An important perspective as to "Hour" is comparable to an unfounded bias against westerns; just as tales of cowboys and indians typically are about much more than saloon fights and high noon showdowns, films that center around war-related events offer much more than battles.

The aforementioned cabin fever is a major (no pun intended) factor as to not reading the essay or watching most of the five-hours of special features in "Hour." There can be too much of a good thing when you spend at least eight hours a day watching movies everyday for a few weeks. 

Similarly, a desire to not make this post a novella requires striking a happy medium between a 25-words-or-less synopsis of each of the five movies and writing a full review. 

The collection begins with the 1958 version of "Dunkirk." Unlike the 2017 Christopher Nolan blockbuster, the Ealing version gives the events leading up to the civilian flotilla rescue of far more that seven stranded castaways on the titular shore roughly equal screen time as that exodus. We also get a much more in-depth look at the homefront aspects of those events than Nolan provides. 

The Ealing short "The Young Veteran," which looks at WWII from the perspective of a post-adolescent literally and figuratively in the trenches, and a newsreel on Dunkirk are especially notable bonus features. 

Classics tells us that the docudrama "The Dam Busters" (1955) inspires the central mission, aside from rescuing the princess, in the original "Star Wars." This compelling films portrays the efforts of a patriotic British engineer to develop a highly precise bomb to further the war effort; we also see the skilled RAF flyers who must meet very tough and equally specifics to allow the weapon of mass destruction to do its job.

"The Colditz Story" is a wonderful mash-up between "The Great Escape" and the '60s sitcom "Hogan's Heroes," both of which almost certainly take inspiration both from the film and the events that inspire it. The central plot this time is that the Germans convert the titular castle into a POW camp for prisoners who escaped from other places where they had unfortunate incarcerations. A series of intertitles that serve as an epilogue provide good context that an include documentary on the castle enhances. 

"Ice Cold in Alex" (1958) follows a traditional action-adventure film format; the titular brew is a "carrot" in much the same way that almost all of us look forward to a meal at our favorite restaurant once our own unfortunate incarcerations end. The reel challenge is driving a run-down Army ambulance across the Nazi-infested scorching North African desert. 

"Went the Day Well" (1942) arguably is the "Hour" film that is closest to the Ealing comedies.  This film, which is based on Graham Greene story, is about a rural British village that is duped in literally welcoming a group of German soldiers into their homes.

In typical Ealing style. the story commences with the daily lives of the villagers, whose existence is somewhere between the central character (reviewed) "Passport to Pimlico" and (reviewed) "Whiskey Galore." The aforementioned fascists soon arrive disguised as British soldiers.

The web of lies soon unravels, and the real drama unfolds when the Nazis figuratively show their true nature. The clear message is to not f**k with the British.

The Film Movement Classics division of indie-film god Film Movement March 10, 2020 BD double-feature release of "Whiskey Galore" (1949) and "The Maggie" (1954) (aka "High and Dry") once again proves both that funny always is funny and that the Brits kick the arses of Yanks when it comes to comedy. This release also is the third Classics BD of Ealing Studios releases. This site has already covered the Blu-ray of "The Titfield Thunderbolt" (1953) and reviewed the Blu-ray of the 1949 farce "Passport to Pimlico."

These four never-a-dull-moment films make a wonderful home-based classic film festival. The copious in-depth special features that accompany these UK gems aptly give them the royal treatment and are well worth watching. 

One of the many common elements of "Whiskey" and "Maggie" is that the are both from Ealing director Alexander Mackendrick, who is better known for "The Ladykillers" and "The Man in the White Suit."

The following SPOILER-LADEN Classics trailer for "Galore" highlights the award-worthy restoration. This promo also provides a strong sense of the so-near and yet-so-far aspect of a small Scottish island that has its supply of the titular libation go dry at the same time that a ship with a large supply of that nectar rounds aground just off shore. Hilarity galore ensues. 

Classics does "Maggie" equally proud as to the trailer for that film. The primary "sit" that provides the "com" this time is that wily boat captain McTaggart responds to desperate times by undertaking the desperate measure of deceptively getting the job of transporting cargo that is very precious to American businessman Calvin B. Marshall. Once more, there is copious hilarity.

Film Movement fully celebrates the independent spirit of art-house films with the DVD release of the 2017 drama "I Am Not a Witch." Folks who prefer to download this tale of nine year-old Shula being sent to witch camp can do so through the Movement streaming service. 

The sweet 16 accolades for "Witch" begin with the 2018 BAFTA award for "Outstanding Debut by a British Writer, Director, or Producer." Many of the other 15 wins similarly honor the film itself and writer/director Rungano Nyoni. 

The following YouTube clip of the Movement trailer for "Witch" casts a spell that compels you to want to see more of the guilty-pleasure absurdity and themes that earn the film so much critical love.

The fun begins with wonderful dual commentary on the nature of tourism and the treatment of the disenfranchised in any society. We see tourons (a.ka. tourists + morons) in Zambia traveling to a witch camp. Of course, a group member balks at the price of the experience. 

On arriving at their destination, the visitors treat the not-so-beloved sorceresses like zoo animals. For their part, the women who endure that humiliation do so with supernatural stoicism. The education of the day trippers includes the explanation that tethering the women to white ribbons is intended to prevent them from flying away to go on a killing spree. One spoiler is that at least one witch reaches the end of her rope. 

The primary commentary then commences in the village where unaccompanied minor Shula resides; our introduction to her shows the incident that leads to her being accused of witchcraft. That judicial proceeding provides a strong sense of the comparable Salem witch trials.

This leads to government official Mr. Banda bringing the girl to the aforementioned camp. A form of tiger repellent logic is used in convincing Shula that she either can consent to be tethered to a white ribbon or be turned into a goat.

Banda subsequently exploits the perception of an unenthusiastic Shula for fun and profit. This includes making her use her alleged power to catch a thief. We also see her sit quietly by as Banta and his partner-in-crime try to get her to play along with a scheme to show that she can literally be a rainmaker.

Meanwhile, the witches also profit from the perception of Shula. They additionally amusingly go about their lives as the bicker and do what is required of them. We additionally get further proof that people from "civilized" nations are clueless.

All of this shows both that every society has the same basic flaws and that all of us should be ashamed, very ashamed. 
​
Movement supplements "Witch" with the Nyoni short-film "Mwansa the Great." We further get an interview in which Nyoni discusses visiting an actual witch camp.

The Film Movement December 3, 2019 DVD release of the 2018 documentary "The Miracle of the Littlel Prince" serves the noble purpose of reminding us that so many world cultures have been lost as more dominate entities have moved in and taken over, The bonus is a multi-lingual reading of a WWII-era classic. 

A benign relatable example in the United States is the massive numbers of children, especially from Asia, who come here with their families and speak their native tongues at home only to struggle with having to speak English at school even in this age of ESL and overall greater cultural sensitivity. Of course, a big difference is that the US powers that be are not trying to kill off any other cultures. 

The following Movement trailer for "Miracle" expertly conveys the theme and the tone of the film. We see that the translations are as much of a labor of love as the movie itself.

Movement does just as well describing "Miracle" in writing as it does in the trailer. A passage from the text on DVD back cover states: "There are now versions of the beloved children' story in over 300 different languages. In this emotionally rich, globetrotting documentary director Marjoleine Boonstra travels to Morocco, Scandinavia, El Salvador, and Tibet to find people from diverse backgrounds and linguistic regions who have all chosen this cherished book to help keep their endangered languages and cultures alive."

The above also reflects the meta element of "Miracle." Making a film that highlights all but dead languages and their cultures helps prevent those things from entirely dying out. 

Although every segment in "Miracle" is strong and unique, the El Salvador story is the most interesting in that it centers around a ground of older woman helping keep the translation in in their traditional language as accurate as possible. An example of that it that language being able to describe a red flower but lacking a word for rose. The horticulture history lesson as to that is that the Spanish explorers introduce roses to the Americas.

The engaging man who is heading up the effort to translate "Prince" in Tibet also achieves the documentary ideal of being equally entertaining and educational. We also get a strong sense of the level of oppression in that country.

The true legacy of these efforts go back to when man first adequately evolved to communicate in a manner that helps keep early culture alive, We may have come a long way, Baby, but the folks featured in "Miracle" show the value of going old school.