The locals are just talking trash. I don't know, man... I feel like I'm getting absolutely wrecked out here. Just totally blindsided. It’s like when you’re driving down a highway in a beat-up Ford and some guy in a brand-new Tesla just cuts you off without even blinking. You're just sitting there, staring at the bumper, wondering where it all went wrong. Everything's hitting me at once. Total chaos. Whatever, man. Let's just let that little punk have his way. Barça kicks off tonight.
Honestly, with how many bureaucrats have been piling into D.C. lately, both at the federal level and down at City Hall, those folks are gonna be sitting pretty on a mountain of tax dollars and endless contracts. They’ll have plenty of business to keep them busy.
I’m out here buying furniture on credit right now just so they’ve got something decent to burn for heat this winter when the food runs out and everyone’s starving.
First, I hit the forum's internal search for The Past and—surprise, surprise—absolutely nothing pops up. Just as I was about to throw in the towel and head over to the review section, my stubborn ass decides to click on The Pass (2013) and lo and behold! I find this little gem! And hey, looks like my buddy analogbear40 already beat me to it by posting ☕ . Yeah, honestly? I think A Separation is better, even if this one has its own brilliant highlights. I’m talking specifically about the lead acting, especially Marion Cotillard. Pauline Burlet is also an absolute dream to watch, and that kid is just phenomenal. Seriously, everyone killed it.
But damn, I gotta say, the director's subtle leaning toward male chauvinism really rubs me the wrong way here. I caught hints of it in A Separation too, but at this point, it feels less like a coincidence and more like a pattern where all the guys are framed as the smarter, calmer, more innocent, or just generally "more important" characters. I mean, let's face it, the director is just a patriarchal American. It’s kind of an eyesore, if you know what I mean.
Also, he stepped away from that "extreme close-up" style that worked so well for him in A Separation; here, the camera stays a bit further back from the leads. He spent a decent amount of time focusing on the cozy apartment interior, while we barely feel the outside world at all. To me, that feels like a reflection of the director's "small-mindedness"—just total provincial vibes.
And yeah, fair point, Ahmad definitely gives off some serious douchebag energy.
Exactly. Picking a sex worker with a teenage daughter on her back as their vampire archetype? Total bullseye. And then there’s this kid... he’s got leukemia.
Look, you really have to sit there and pay close attention to this one if you actually want to follow the threads. At least, that was my experience. Honestly, there were moments where I was sitting there thinking, "Did the director just lose the plot entirely, or was this chaotic mess actually intentional?" The vibe is spot on, though, I'll give it that. I did find myself wishing they’d leaned harder into more 18th-century period pieces, though. The acting was decent enough, nothing to write home about, really. It's not exactly going to stay burned into my brain forever, but hey, the concept itself was pretty cool. Rating: 6/10
If anyone actually has a right to be making noise and demanding their rights, it’s the Crimean Tatars—they’re the indigenous people there. The vast majority of Russians were just moved in through some massive planned settlement after World War II, and during that whole post-war era, they basically steamrolled everyone else out of existence.
Besides, Crimea has huge autonomy within Ukraine, so what the hell is their problem?