Paul Nop

tries to appease to both religious people and iconoclasts while, unlike its predecessor, completely stomps over the ensemble in favor of Blanc and the priest

always said I had a dramaturgical relationship with my parents, not a sentimental one, so the premise of this movie seemed pretty fascinating to me, but it went a didactic route to try to frame the ‘martyrdom’ of Reinsve’s character at the end as some sort of inevitable formality that had to be done to prove this point on generational trauma; still appreciate the meta of it all, and Labi Siffre of course

how is this movie even real

ping pong kill bill