برچسب: Film

  • How Sound Can Make Or Break A Film — Every Movie Has a Lesson

    How Sound Can Make Or Break A Film — Every Movie Has a Lesson



    When we think of cinema, visuals often take center stage. But behind every iconic scene lies an equally important yet sometimes overlooked element: sound. Whether it’s the eerie silence of a horror movie, the swelling score in a romantic moment, or the sharp crack of gunfire in an action film, sound is crucial in shaping how we perceive and experience a film. In fact, it’s often the audio, not just the imagery, that leaves a lasting impact on viewers.

    Setting the Tone

    From the opening credits, sound lays the emotional groundwork. A well-composed score can immediately cue the audience into the film’s mood—suspenseful, joyful, melancholic, or tense. Consider the chilling theme from Jaws or the soaring orchestration of The Lord of the Rings. These auditory cues prepare viewers for what’s to come and subtly manipulate emotional responses throughout the story.

    Dialogue and Performance

    Audio clarity is essential to understanding the characters and plot. Poorly mixed dialogue or unbalanced audio can pull viewers out of the moment and make even the best writing fall flat. On the other hand, a crisp, well-recorded conversation can elevate a scene, allowing actors’ performances to shine and emotions to resonate authentically.

    Sound Design and World Building

    Sound design plays a vital role in building believable worlds. Sci-fi and fantasy genres rely heavily on audio to make the unreal feel real. From the hum of a spaceship engine to the rustling of alien flora, each sound contributes to immersion. Even in grounded dramas, ambient noise like city traffic or birdsong can subtly enhance the setting and atmosphere.

    The Psychological Impact

    Sound doesn’t just fill in the gaps—it actively influences perception. Directors use audio to create tension, suggest danger, or offer relief. Alfred Hitchcock famously said, “If it’s a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on. But when the sound is turned on, you should feel it.” His films often use silence and ambient noise to amplify suspense, proving that what’s not heard can be just as impactful as what is.

    Music as a Narrative Tool

    Music can tell a story all on its own. Think of how a recurring theme or leitmotif can signify a character’s presence or emotional arc. Hans Zimmer, John Williams, and other legendary composers understand how to weave music into the narrative, making it an indispensable part of the storytelling process. Without its music, a film might still make sense, but it may not make magic.

    The Danger of Bad Sound

    Conversely, poor sound can ruin a film. Distracting background noise, inconsistent levels, or mismatched sound effects can make scenes feel amateurish and break the viewer’s immersion. In some cases, even a visually stunning film can be written off if the sound quality is subpar. This is especially true in indie films or student projects where technical sound issues are common.

    Training for Excellence

    For those interested in mastering the art of sound in film, proper education and hands-on experience are key. Audio courses in Leeds in the UK offer aspiring sound designers, engineers, and composers the opportunity to learn from industry professionals in state-of-the-art facilities. With a focus on both technical and creative aspects, these programs provide the foundation needed to contribute meaningfully to any cinematic project.

    Summing It All Up

    Sound isn’t merely a background component of film, it’s a powerful storytelling tool. It can heighten emotion, build worlds, and immerse viewers in ways visuals alone can’t. Great sound design complements and elevates a film; poor sound, however, can be its downfall. As cinema continues to evolve, one thing remains clear: if you want to make a truly unforgettable film, never underestimate the power of sound.



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  • Mentioned on Film Threat YouTube Channel for “Thunderbolts” — Every Movie Has a Lesson

    Mentioned on Film Threat YouTube Channel for “Thunderbolts” — Every Movie Has a Lesson







    MEDIA APPEARANCE: Mentioned on Film Threat YouTube Channel for “Thunderbolts” — Every Movie Has a Lesson

























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  • The Top 10 Movies of 1977, a Year That Changed Film Forever

    The Top 10 Movies of 1977, a Year That Changed Film Forever


    Here are the top 10 movies of 1977, ranked by domestic box office. The film at No. 1 permanently changed the kinds of movies that get made in Hollywood.

    10 — Semi-Tough

    United Artists – Credit: C/O

    Burt Reynolds was such a huge star in 1977 that he starred in two of the films on this list. Semi-Tough is a sports comedy that features a love triangle between the very 1970s cast of Reynolds, Kris Kristofferson and Jill Clayburgh.

    The United Artists release, which came out November 11, earned over $37 million, making it No. 10 on this list of the 10 top movies of 1977, by domestic box office, not adjusted for inflation.

    9 — Annie Hall

    United Artists – Credit: C/O

    Widely considered Woody Allen’s masterpiece, this romantic comedy starring Allen and Diane Keaton, as the title character, was not only a commercial but critical smash: It won the Oscar for Best Picture, Best Actress (for Keaton) and Best Director (for Allen) — as well as Best Screenplay for Allen and Marshall Brickman.

    The film, released by United Artists, debuted April and earned $38.2 million. It’s No. 9 on the list of the 10 top movies of 1977, by domestic box office, not adjusted for inflation.

    8 — Oh, God!

    Warner Bros – Credit: C/O

    George Burns (right), who was 81 at the time of the film’s release, plays God, who visits normal-guy grocery store assistant manager Jerry (John Denver, left).

    When Jerry agrees to spread God’s message, his wife Bobbie (Teri Garr) isn’t sure it’s the best idea.

    The film inspired a trilogy that includes one of the film’s on this list. Released by Warner Bros. on October 7, it earned $41.7 million. It is, you guessed it, No. 8 on the list of the 10 top movies of 1977, by domestic box office, not adjusted for inflation.

    7 — The Spy Who Loved Me

    United Artists – Credit: C/O

    The third James Bond film to star Roger Moore (left) — who is No. 4 on our list of James Bond Actors, Ranked — pairs him with Soviet agent Anya Amasova (Barbara Bach, right) as they try to stop a plot to end civilization in favor of a new undersea world.

    They’re bedeviled by Jaws — not the shark from the top-grossing film of 1975, but the henchman played by Richard Kiel.

    Released by United Artists on July 13, The Spy Who Loved Me moonraked in $46.8 million. It ranks No. 007 on the list of the 10 top movies of 1977, by domestic box office, not adjusted for inflation.

    6 — The Deep

    Columbia Pictures – Credit: C/O

    This thriller stars Jacqueline Bisset and Nick Nolte as amateur treasure-hunting divers who come across the cargo of a World War II shipwreck, which puts them at odds with local criminals. It was co-written by Peter Benchley, who wrote the novel Jaws and co-wrote the film.

    Released by Columbia Pictures on June 17, it earned $47.3 million. Its No. 6 on the list of the 10 top movies of 1977, by domestic box office, not adjusted for inflation.

    And Bisset is on our list of Stars of the 1970s Who Are Still Going Strong.

    5 — A Bridge Too Far

    United Artists – Credit: C/O

    Richard Attenborough’s World War II drama stars a plethora of great actors, including Sean Connery, Laurence Olivier, Robert Redford, Gene Hackman, Anthony Hopkins, Michael Caine, and the recently departed Ryan O’Neal. It’s also co-written by the great William Goldman (All the President’s Men, Butch Cassidy and the Sundance Kid, The Princess Bride.)

    Released by United Artists on June 15, it collected $50.8 million. It comes in at No. 5 on the list of the 10 top movies of 1977, by domestic box office, not adjusted for inflation.

    4 — Saturday Night Fever

    Paramount Pictures – Credit: C/O

    With a soundtrack that defined the late ’70s, this John Travolta disco drama follows Tony Manero (Travolta) as he splashes paint and dances up a storm in Brooklyn. It’s based on the New York article “Tribal Rites of the New Saturday Night” which author Nik Cohn later admitted he mostly made up.

    Audiences didn’t notice, or didn’t care. The Paramount Pictures release, which came out December 16, hustled up $94.2 million. It is, of course, No. 4 on the list of the top 10 movies of 1977, by domestic box office, not adjusted for inflation.

    It also earned a place on

    3 — Close Encounters of the Third Kind

    Columbia Pictures – Credit: C/O

    Stephen Spielberg’s followup to his hit Jaws, which reunited him with Jaws star Richard Dreyfuss, wasn’t as big a hit as the shark epic — but few movies are.

    Close Encounters — the second movie on this list to feature Teri Garr (who would reunite with Dreyfuss for 1989’s Let It Ride ) — earned $116.4 million after its November 16 release by Columbia Pictures. It’s No. 3 on the list of the top 10 movies of 1977, by domestic box office, not adjusted for inflation.

    2 — Smokey and the Bandit

    Universal Pictures – Credit: C/O

    This Burt Reynolds-Sally Field action comedy — about a Trans-Am on a mission to distract from a truck full of beer — was the No. 2 film domestically with a total haul of $127 million. This is one time the Bandit ended up in second place.

    By the way, all of these domestic box office totals are from Box Office Mojo, a fun site we highly recommend exploring.

    Interestingly, Smokey and the Bandit debuted on May 27 — just two days after the No. 1 movie on our list.

    1 — Star Wars

    20th Century Fox – Credit: C/O

    The 20th Century Fox film, which eventually became known as Star Wars: Episode IV — a New Hope, was the top film of 1977 with a domestic gross of $307 million. (Adjusted for inflation, that’s $1.3 billion.)

    George Lucas’ story of Luke Skywalker’s quest to rescue Princess Leia from the Death Star — and her quest to lead the Rebellion to use some secret plans to blow up said Death Star — launched the second-most successful franchise in film history. Star Wars films have made more than $5 billion, trailing only the $11.8 billion for the Marvel Cinematic Universe.

    The incredible box office receipts of A New Hope (we still just call it Star Wars) helped open studios’ eyes to new ways of making money — not just through films, but endless merchandising in the form of action figures, remote-controlled R2D2s, and lightsabers.

    It changed the kinds of movies that got greenlit, and signaled that ’70s audiences — who had grown accustomed to downbeat endings — were ready for optimism. Movies would never be the same.

    Liked This List of the Top 10 Movies of 1977, Ranked by Domestic Box Office?

    Dr. No Behind the Scenes First James Bond 007 Movie
    United Film Distribution Company – Credit: C/O

    You might also like this list of All 11 Star Wars Movies, Ranked Worst to Best or this list of 12 Rad ’80s Movies Only Cool Kids Remember.

    Main image: A publicity still of Jacqueline Bisset in The Deep. Columbia.

    Editor’s Note: Corrects main image.



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  • The Role of Digital Advertising in Changing Film Critique Landscapes — Every Movie Has a Lesson

    The Role of Digital Advertising in Changing Film Critique Landscapes — Every Movie Has a Lesson



    In today’s fast-moving digital world, advertising has changed a lot of industries, especially movie reviews. Did you know that many people read online reviews before they decide to watch a movie? This shows how important digital ads and marketing have become in shaping what people think about movies.

    Now, movie critics are changing the way they review films because of the new ways movies are advertised. A long time ago, reviews mostly talked about the story, acting, and art of the film. But today, critics also think about how a movie is advertised on social media and other online places.

    This blog will show you how digital advertising is changing the world of movie reviews.

    Understanding Digital Advertising’s Impact

    Digital advertising has altered the way films are promoted and critiqued. Here’s how:

    Now, movies are shared directly with the right audiences through social media. They use ads made just for them.

    Filmmakers also work with influencers. They help shape how people see the movie. Critics often mention these influencers in their reviews.

    Plus, with online platforms, people can give their opinions right away. This means critics have to think about what the audience is saying when they write their reviews.

    These shifts indicate that film critique isn’t solely about the movie itself. It intertwines with marketing techniques. This creates a multi-faceted approach to understanding a film’s reception.

    Moreover, the proliferation of digital content has led critics to explore how films are marketed to diverse sectors of the audience. Features like targeted ads allow studios to maximize their outreach. It makes the critical landscape broader and more nuanced.

    Marketing Influences on Review Landscapes

    The influence of marketing on film reviews is profound. Critics often discuss how marketing tactics inform audience expectations and emotional responses.

    For instance, a film marketed as a blockbuster is critiqued differently than a lower-budget indie film. Understanding marketing nuances allows critics to provide insights on the effectiveness of these promotional strategies.

    Moreover, the role of social media has expanded. It creates platforms for both audience feedback and film promotional content.

    Critics are now engaging more on these platforms. This is where they can enhance their reviews with audience perspectives. Perhaps even changing their critiques based on popular discourse.

    For budding critics, understanding the role of digital marketing is essential. Recognizing the influence of a Google ads management agency or other advertising platforms can help them maintain their integrity while navigating the changing critique landscape.

    The Future of Film Critique in the Digital Age

    As we look to the future, the role of digital advertising will likely continue to evolve. Film critics will have to adapt to technologies that reshape how audiences receive information about films. Here are some possible directions:

    The Last Word on Digital Advertising’s Impact

    In today’s fast-changing world of movie reviews, digital advertising plays a big role. Critics have to balance the way movies are advertised with the way the story is told. When you read reviews, it’s important to notice how ads might influence what people say about the movie.

    Whether you just enjoy watching movies for fun or you really love films, knowing how ads and reviews work together can make your movie experience even better.

    For more informative tips, check out our blog posts.



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  • Watch 2-Hour Unlisted Video for Zach Cregger Horror Film

    Watch 2-Hour Unlisted Video for Zach Cregger Horror Film


    Warner Bros. is going the creepy viral route to promote Weapons, the new child horror film from Barbarian writer-director Zack Cregger: A new two-hour, unlisted video features two hours of supposed surveillance video, mostly of children running through the night.

    The innocuously jarring title is simply “2025_░_░_06:17AM.mov.”

    It’s a wonderful bit of mystery, sure to raise interest in what’s already one of the most-anticipated horror films of the summer. The new poster for the film explains its concept: “Last night at 2:17 am, every child from Mrs. Gandy’s class woke up, got out of bed, went downstairs, opened the front door, walked into the dark… and never came back.”

    That summary raises a lot of questions: Does every single kid in Mrs, Gandy’s house have at least a two-story house? But we guess the more important question, which we hope the film will answer, is where all those children went. Also: What or who are the weapons in Weapons?

    Spend a while watching the Weapons video — sorry, we mean “2025_░_░_06:17AM.mov” — and you start to notice some extremely jarring things (or cool things, if you love horror.) Among them is the fact that one of the monitors we’re seeing appears to feature the reflected, emotionless face of a middle-aged man. Who is he? Why is he watching? What does he want?

    Weapons stars Julia Garner, Josh Brolin, June Diane Raphael, Toby Huss, and Benedict Wong, among others. We don’t think any of them appear in “2025_░_░_06:17AM.mov,” but who knows? (The middle aged man just might be Huss.)

    Also Read: The 11 Most Nightmare Inducing Horror Villains

    Additional marketing materials for the film note that 17 children run away in all. And while the poster says it happens at 2:17 am — and time stamps on some of the assembled surveillance footage say 2:17 — the title of the video includes the time stamp 6:17 am. So maybe something is happening with the number 17?

    We already love this movie.

    Zack Cregger and the Campaigns for Weapons and Barbarian

    The Weapons unlisted video continues a long run of cool viral Warner Bros. immersive marketing campaigns: 2008’s Christopher Nolan Batman film The Dark Knight, for example, fascinated fans with an interactive website, not clearly identified as promotional, to drop hints about Heath Ledger’s bold take on The Joker. Such campaigns have since become a frequent part of the rollout for hotly anticipated films.

    Cregger’s Barbarian, released in 2022 by 20th Century Fox, benefitted from a similarly jolting campaign. A trailer for the film promoted it pleasantly as “Justin Long’s New Movie,” and featured Long’s character driving along Pacific Coast Highway in a convertible, as cheery music plays.

    “From the Producers of the Lego Movie,” the trailer brightly misdirects, before adding more bona fides: “The studio that brought you Alvin and the Chipmunks.”

    But around the one-minute mark, things take a dark turn. Long’s character realizes one of his Michigan properties has an unwanted visitor. There’s a thud. The cheery music drops out. And the trailer drops a hammer: “From the Producer of It.”

    With Weapons, the scares are right up front: two hours of creepy images, accompanied by static-y, disorienting sound. What’s discombobulating this time is the medium: As with The Dark Knight campaign, we don’t even know what we’re seeing has anything to do with a movie. If you missed the name Warner Bros., you might think you were just seeing some very alarming footage, from Ring cameras, dash cams, and whatever else is surveilling the suburban streets.

    Barbarian went on to be one of the most unexpected breakthroughs of 2022, earning more than $45 million against a low production budget of just $4.5 million. Hopes are even higher for Weapons.

    Weapons arrives in theaters on August 8, from Warner Bros. Pictures.

    Main image: Children running in the night in 2025_░_░_06:17AM.mov to promote Weapons. Courtesy of Warner Bros.



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  • Two to One – Review from Glasgow Film Festival

    Two to One – Review from Glasgow Film Festival


    With the reunification of Germany, residents of the former GDR (or DDR, as it’s known in its mother tongue) were given less than a week to trade in their currency at a truly unfavourable rate of ‘two to one’. For an economy that was already shattered, with all state industries on the brink of extinction, it was another hammer blow to the people of the regime. 

    And it’s here where we find Maren (Sandra Hüller) at the start of writer / director Natja Brunckhorst’s Two to One. It’s July 1990 and she’s been made unemployed; as has her husband, Robert (Max Riemelt), and just about everyone else who lives in their apartment block. The socialist architecture of their domestic dwelling in Halberstadt underlines a community entirely dependent on a non-existent state for their income and home. Robert convinces his grouchy uncle Markowski (Peter Kurth) to let him, Maren and Volker (Ronald Zehrfeld) have a look in the state-owned bunker where he works. In there, they find entire caverns full of East German marks. With just days left to cash in as much as they can carry, they must hatch a plan. 

    There’s a relatively playful feel throughout the film. The kaleidoscopic opening credits almost seem to make fun of the concept of money. Even the attempts to break into the bunker are met with a Mission Impossible style score and out-of-breath attempts at sneaking along corridors. This is further evident in the colour palette. When you picture former GDR neighbourhoods, you probably don’t think of sun-dappled yellows, warm corals and striking turquoise. But that is exactly the palette that Brunckhorst employs. Sure, there’s the old Trabant cars and dodgy rip-offs of Western clothing, but the Halberstadt community is anything but grey and austere. It suggests a hope for the future that is yet to be realised. 

    Two to One - Zwei zu eins - Glasgow Film Festival

    At the heart of the film are two parallel stories; a national drama and a personal one. With all the flaws of the GDR laid bare, there’s a disillusionment and an anger that juxtaposes the firmly held beliefs that life won’t be better in the West. “They’ve screwed us all these years,” Robert says to Maren. “But you always knew that,” she shrugs in reply. “Yeah, but I hoped for something else,” he sighs. It’s a quick snippet of dialogue that belies the betrayal and fears of those suddenly finding themselves ‘stateless’. There’s the devastation in realising that the work you were doing ‘for the advancement of socialism’ was nothing more than cheap labour for the West. What can you do when an entire ideology is stripped away from you, becoming meaningless overnight? 

    There’s also commentary on what it means to swap one extreme for the other – does greed immediately replace the ‘greater good’? Does having endless piles of cash and stacks of electronic goods suddenly make you happy? Brunckhorst’s script would suggest not. There’s a desire to share the money and good amongst everyone in the apartment block in order to get one over on the failed regime, but there’s always personal interest and aspirations bubbling away in the background. It’s an interesting insight into real life events. 

    On the personal level, Maren is struggling with Volker’s return, because it is immediately clear that they have had a romantic past. Whilst he urges her to leave for the West – as he did; we first meet him upon his return from Hungary – she is convinced that both he and Robert can live with her in the East. It’s perhaps the weakest part of the film, not least because Robert is allegedly oblivious to their love affair. 

    Two to One - Zwei zu eins - Glasgow Film Festival

    In terms of performances, Peter Kurth gives an engaging turn as the spirit-swigging Markowski; a man who has lived through the horrors of Germany’s past and is utterly devoid of personal politics. Sandra Hüller, although undoubtedly the draw for many here, isn’t given too much to do beyond count cash and keep both the men in her life on an even keel. Max Riemelt adds cheeky humour and genuine hurt to his character; layering both personal and national tragedy on thickly. It’s a pleasing ensemble, and there’s plenty of funny on-liners to keep you engaged. 

    The pace takes a dip towards the end of the second act and into the beginning of the third. Brunckhorst seems to lose the sense of whimsy and fun that really draws you into the film in the opening 45 minutes or so. It’s made up for with a ridiculous ending that is equal parts incredible and entertaining. There’s also lovely archival footage of East German companies who survived past 1990 and facts about the real money bunker – with notes still appearing as recently as the early 2000s.Two to One is an entertaining approach to a period of history that caused personal conflict and national hardship. It’s enough of a light touch to keep you engaged whilst it deals with bigger themes and a traumatic historical backdrop.

    Two to One is up for the Audience Award at the Glasgow Film Festival. Get your tickets here.

    https://www.youtube.com/watch?v=DCY0Z0-IseU

    Mary Munoz
    Latest posts by Mary Munoz (see all)



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  • The End – Review from Glasgow Film Festival

    The End – Review from Glasgow Film Festival


    There are certain things that Hollywood simply does not include in its renderings of a post-apocalyptic world. There’s no bright colours; no priceless works of art on the walls; no cosy clothing; no rich food; and certainly no grand pianos. And yet, in Joshua Oppenheimer’s The End, it’s all there. Oh, and it’s a musical. 

    Mother (Tilda Swinton) and Father (Michael Shannon) have managed to escape the hellfires of earth in a luxurious underground bunker. They’ve raised their Son (George Mackay) entirely underground, never allowing anyone else to seek refuge in their little sanctuary. They have a Butler (Tim McInnery), a Maid (Bronagh Kelly) and even a Doctor (Lennie James) to cater to their every need – and their egos. However, the arrival of Girl (Moses Ingram), throws their harmonious survival pact into disarray. She knows too much about what it’s like above surface level and no one in this family is willing enough to confront their past lives. 

    Writers Rasmus Heisterberg and Joshua Oppenheimer certainly know what they are doing when it comes to blending tragedy with humour. There are so many rapid exchanges of dialogue or elements of physical comedy that will have you laughing out loud, only for them to be undercut by dark truths moments later. Indeed, many of the songs in Marius De Vries and Josh Schmidt’s score are mournful ballads that reflect on life as it previously was. 

    The End Tilda Swinton George Mackay

    And the score really is something to behold, here. Although you won’t be familiar with the songs, some of the writing and musical motifs are bound to stay with you for days afterwards. Bronagh Kelly delivers a heartbreaking lullaby to her son who has passed away. It’s incredibly powerful and her vocals are well-matched to the emotion she conveys. Michael Shannon and Tim McInnery deliver a delightfully old-fashioned tap dance sequence and a gentle duet about plucking up the courage to speak to a love interest. George Mackay has a beautiful voice and an impressive range whilst Moses Ingram gives an emotional rendition of “Exhale”, a song about counting each passing second. Tilda Swinton, too, has a powerful solo called “The Mirror”, where she contemplates her relationship with her mother. 

    The performances within this eclectic cast really do deliver beyond singing capabilities. Michael Shannon is hilariously self-aggrandising as he encourages his son to write his life story – one in which he is portrayed as an altruistic oil baron. Tilda Swinton is neurotic, snobby and obsessed with keeping her bunker life ‘just so’. Bronagh Kelly’s Maid is a collection of heartbreak and guilt. Her unravelling is particularly painful to watch because she does seem like a decent, caring person. 

    The End Tilda Swinton Michael Shannon

    George Mackay steals every scene he is in. His character – having never interacted with anyone outside the bunker – is physically and verbally awkward. He’s so keen to be noticed and say his piece, even when it’s not the most emotionally intelligent thing to say. It’s a genuine, warm and engaging performance from Mackay, who has excellent on screen chemistry with Moses Ingram. Ingram’s character is so much more wary and damaged than the mollycoddled bunker dwellers, having had to survive above ground her entire life. She brings hard truths and trauma to the family – something that causes their perfectly curated life to splinter and split. 

    There are a couple of pacing dips in The End. It has a two and a half hour run time and there are particular scenes or conversations that feel like they could be shortened or cut entirely. But hey, it’s the end of the world, you’ve got the time. The End probably isn’t going to be for everyone. And that’s okay, not every film needs to be. If you enjoy musicals, this is something new for you to fall in love with. If you enjoy people-driven drama, conflict and nuance, then this will likely work for you, too. It’s almost like a curious little study of human behaviour, with each character aware of the artifice of the setting and of themselves. Definitely worth the watch if you enjoy seeing familiar genres executed with a new and different flair.

    The End had its Scottish premiere at the Glasgow Film Festival. Find out more here.

    https://www.youtube.com/watch?v=avvm0e4oNCE

    Mary Munoz
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  • From Hilde, With Love – Review from Glasgow Film Festival

    From Hilde, With Love – Review from Glasgow Film Festival


    German cinema has long been coming to terms with the nation’s past. Films like Downfall, Sophie Scholl: The Last Days, The Tin Drum and Das Boot, all offer a unique perspective on life in Germany during World War Two. It’s a confronting position, as a viewer, that often makes you wonder if you could ever defy the horrors that unfold onscreen. 

    One woman who did attempt to defy the Nazi regime was Hilde Coppi (Liv Lisa Fries). Along with her husband, Hans (Johannes Hegemann), she sent radio messages in Morse code to Russia, distributed anti-Nazi materials across Berlin, put up anti-Nazi posters around the city and wrote letters to mothers whose sons were named on Radio Moscow. Both she and Hans were part of a friendship group who undertook all of these activities, knowing that getting caught would mean death. Director Andreas Dresen’s film, From Hilde, With Love, is told in a non-linear structure, allowing us to get a full and compelling understanding of a woman who stood up to be counted. 

    From Hilde With Love Glasgow Film Festival

    What’s interesting about Hilde’s story is that we’re even getting to hear about it at all. So many films in the war genre focus on the derring-do of male spies or resistors. Indeed, this could have been a film about Hans. But writer Laila Stieler gives us a fascinating portrayal of Hilde, instead, both as a young woman and during her incarceration at Plötzensee. It’s not a hagiography, either, as her flaws are laid bare through Liv Lisa Fries’ formidable central performance. She is complex and full of life; a woman you can admire and pity. 

    Owing the narrative structure, the film jumps back and forth throughout Hilde’s life. When we meet her in the past, the scenes are vibrant and colourful, infused with a cosy yellow glow. There’s dances and sex and drinking. Even when the friends are plotting their next move, there’s a joyfulness about their decision to take a stand. We get to watch a beautiful love story, too, as Hans slowly becomes less wary about his “prudish” new recruit. That, too, breathes life into both characters as we get to see them in moments of desire and bliss. In contrast, Hilde’s present is full of steely greys and sterile blues; hospital creams and washed out greens. Prison life is harsh and unforgiving – not least because Hilde has just given birth to a son and the restrictive diet means she is not producing enough milk for him to survive. 

    The performances give the film the weight that it needs. Liv Lisa Fries is utterly captivating as Hilde. It is a deeply complex, emotional performance that allows us to see Hilde at her rational best and devastated worst. She isn’t just some grainy photograph in a history book, she is a living, breathing woman fighting for her life. Fries rejects the cliche of the ‘warrior woman’ and, instead, gives us a historical figure who is practical, softly-spoken and interesting. She possesses a resilience that neither her mother nor her fellow prisoners seem to emulate. It’s incredibly powerful to watch. She also does a phenomenal job with a botched birth scene that is difficult to endure as a viewer. 

    From Hilde With Love Glasgow Film Festival

    The drudgery of prison life is fully realised, here, but you cannot help but feel the palpable tension that permeates the cell doors. Hilde’s particular wing of political prisoners have yet to face their farcical trials and death is surely just a signature away. That unease is always lingering below the surface, even when Hilde is spending time with her son or nursing other prisoners. The thin blade of the guillotine feels mere inches away, at all times. When it does come, we are given a beautiful moment of Hilde enjoying the warmth of the sun on her face one last time, before Teutonic efficiency means it’s her turn to place her neck on the block. 

    From Hilde, With Love is not designed to make you cry; it’s meant to make you feel the weight of history on your shoulders. It should make you question if you could ever be so brave (and perhaps thankful that you’ve never had to be). It’s a truly fascinating portrait of one of World War Two’s most compelling figures. 

    From Hilde, With Love has its UK premiere at the Glasgow Film Festival. Get your tickets here.

    https://www.youtube.com/watch?v=YFj7RVBRD1o

    Mary Munoz
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