The best movies we saw in March 2021 | Cinema

Much of what we see and tell in a review is lost. Sometimes it’s the small movies that don’t get the attention they deserve, other times they’re the best. So we decided to make a small summary each month of the best of what we have seen. Without distinction. Films released in theaters, released for rent, released on a streaming platform as well as those seen at festivals and which have not yet been released.The idea is to summarize all our reports by skimming upwards only what we think is not lost, should not escape and deserves a vision. There will be the most well-known and advertised films as well as, with a certain preference, those that are less known and have a less strong sounding board, which when they deserve it most need a spotlight on themselves to get noticed.

So here’s our list:

Almost Christmas

“It is truly amazing this second work by Francesco Lagi produced economically with the same cast with which he worked in the theater, because it has the tone and pace of the best European cinema, it seems. A father, a daughter of Mungiu but without the pettiness of society, only with the warmth and difficulty of personal relationships.
It is something we had hoped for, asked for and waited for so long! An Italian film capable of writing, directing, having people interpreted but above all of designing a scenography and imagining costumes that speak of a reality different from the standardized one of comedies and above all far from the pauperistic one of mass-produced auteur cinema. “.


my body will bury you

My body will bury you

“Right from the directorial point of view, the problem with the film lies in the writing (which instead in Tarantino that’s all) unable to keep up with the pace of the rest of the film and a little too dilated for the genre it belongs to and the ambitions of great entertainment. And of entertainment is the great final shooting, flawless, a beautiful demonstration of how in this film the technical part is the best (excluding the inexplicable bad digital fire). All the sectors are exalted and even the actors have the opportunity to work comics on dialects and the use of the body as we never happen to, aided by an appropriately exaggerated graphic violence. ”


He sabba

he sabba

“Moving between the narrow and semi-dark spaces of the cell and the interrogation room, Agüero chooses the path of total realism and photographic naturalism, made up of dim candlelight and moonlight; the directorial closeness to the gazes and gestures of the actors, revealing both hopes and nervousness, forcefully unfolds the power of a story based entirely on dialogues and imperceptible tensions. Agüero’s choice turns out to be successful and right for his goal: focusing on words and on a continuous thinking and rethinking of the characters on what is said come they have to say) He sabba manages to bring out the terminological and then moralistic contradiction that men feel when faced with young women. ”


The friend of the heart

the friend of the heart

“A story of friendship pervaded by the impending death: this is it The friend of the heart. Not a great story, in the sense of blatantly devoted to the dramatic, but the true story of a great relationship, directed by Gabriela Cowperthwaite with significant delicacy. Not a poignant film about cancer, but an almost whispered film, subtly dramatic, which while it deludes us that we are talking about death, silently leads us above all to understand (and we will do it exactly together with the characters) that all the pain that has been seen is it was more bearable because it was sweetened by a “special” person. The friend of the heart it is in fact, trivially, the story of a friend. ”


Girl Power

girl power

“He is always remaining proud of his nature as a teen movie Girl Power – The revolution begins at school of Amy Poehler proposes, succeeding with dignity in the arduous task, his personal variation on gender, constructing here a story in which women power and the feminist claim are primarily the real point of interest of the story, a narrative and not only thematic core around which to build the reassuring implant of the coming of age. A risky operation, easily accused of indifference, and which instead Amy Poehler wisely keeps poised between the necessary satisfaction of her target audience (adolescents) and the serious conviction that it is possible to deal with complex issues in simple words. ”


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