The Italian Paolo Sorrentino returns to the world of politics, this time through a fictional head of state: Mariano De Santis (Toni Servillo), a veteran jurist who faces his last months in office with an euthanasia law and two pardons on the table. If the director portrayed former leader Giulio Andreotti through a bubbling pop artifact in Il divo, he has now opted for a more reflective approach and a surprisingly restrained visual narrative that refers to the prudence (or indecision?) of his new protagonist. The camera movements that marked The Great Beauty are reserved to express some moment of special unease of the character. The exception is a more histrionic scene that may make sense (ridiculing the inflexible ceremoniousness of power), but which may also seem an inadequate echo of previous works... or an authorial toll like Hitchcock's cameos.

The author of the black comedy Riders of Justice He teams up with the actor again. Mads Mikkelsen to construct another bewildering mix of film genres and tones. The protagonists of the story are two brothers who seem to have been taken from different films: Anker is a tough man who belongs to a thriller The criminal, while the ultrasensitive Manfred could inhabit a drama about the challenges of autism spectrum disorder. Manfred has been guarding the loot from a robbery while Anker was in prison, but, when the two meet again, the former claims that he is John Lennon and that he knows nothing about any hidden money.

Paul Greengrass is a director you can count on to bring intensity to a hitman adventure (The Bourne Myth), a fiction of occupied Iraq (Green zone) or whatever it takes. The Irishman had already injected narrative and visual steroids into thrillers based on real events such as United 93 and relapses with Labyrinth on Fire, which is about a school bus caught in a terrible fire. This isn't a tale of paradise lost, because it all begins with scenes in which the driver, played by Matthew McConaughey, appears dejected, almost defeated by life.

Long before writing Don Quixote, and after participating in a war between Christian and Muslim forces, Miguel de Cervantes was imprisoned in Algiers. Alejandro Amenábar uses this dark period in the novelist's life to place one biopic A fanciful story that, through a cunning and somewhat deceitful protagonist, emphasizes the magic of storytelling. And so, by telling stories, the character gives moments of escape to his fellow captives and at the same time wins the favor of his captor, as Scheherazade did in Arabian Nights.

Another spin-off returns to theaters Shark? Not exactly. In Dangerous animals, the sharks are the special guests, the icing on the cake of a disturbing party in which the dangerous animals are humans. The whole thing is about a serial killer in a tour guide suit who shows sharks too closely and justifies his crimes with disbelievable discursive contortions (remember the antagonist ofHeretic?). One of his potential victims resists being so much that he becomes the protagonist of the story.

Hollywood, addicted to reusing intellectual property, capitalizes on the saga Karate Kid after the success achieved for its late television spin-off Cobra Kai. He does this through a film in which the relationship between the original and the remake released in 2010, now converted into a sequel. This allows for the inclusion of characters from both films in the same narrative: actor Ralph Macchio reprises his role as a former apprentice turned teacher, and Jackie Chan returns to act as a mentor.

A 'like' from Bob Trevino It is a free elaboration of a real experience of the director of this film, who mistook her father for a stranger of the same name when trying to get back in touch through a social network. Barbie Ferreira (Euphoria) plays a vulnerable and clumsy girl trying to survive in a hostile world. Her father's breakup with her, and her meeting another Bob Trevino, opens a door for her to share her loneliness, unblock her grief, and accept that "we're all a little broken."

The first adventure of the killer toy M3GAN was already a mix of genres: it began as a horror comedy with touches of mourning and parenting, but the progressive escalation of violence and struggles referred to the thriller action. Now comes a sequel that abandons the horror and rarefies the satire. The saga Fast & Furious progressively mutated: its illegal racing drivers ended up becoming intelligence agents embarked on large-scale operations. This new saga seems to be embarking on a similar path at full speed: from Devil doll to a Mission: Impossible low cost in just one sequel.

From the 2008 crash emerged the small hedonisms of a youth marked by low wages and the erosion of social mobility: since we have no future left, we pay for more expensive coffee and pastries to enjoy the present. The van, an adaptation of the comic book of the same name, tells us about the subsequent reality clashes through the story of Os, a man who loves drawing and lives in a van after separating from his partner. Marked by the defensive humor of the main character, this dramatic comedy is a kind of Life is beautiful of the precariousness in which the adult covers up misery with games and fantasies to protect his daughter (or his pride?).

An airplane is an interesting place to set the scene. thrillers with echoes of Hitchcock's railwayAlarm on the express. In Fight or flightHowever, there isn't much intrigue, but rather an action spectacle so drenched in humorous violence that it resembles a bloodthirsty version of the Road Runner cartoon more than a spy thriller. Its protagonist is a disgraced agent who must survive a flight aboard which dozens of hitmen have boarded. His adventures end up resembling an Olympic Games of creative executions.

It's been almost thirty years since Tom Cruise became Ethan Hunt, the protagonist of the film version of an old television series. Mission: Impossible It began as a saga of blockbusters an auteur, perhaps to distinguish itself from the uniformizing model of the Bond franchise, but it also ended up assuming a defined style. The latest installments have offered some memorable moments of contemporary action cinema: impressive scenes, accompanied by abundant doses of humor and tinged with some moments of watery eyes and emotionality between the hero and the characters around him. It was all implausible and schematic, but at the same time there was something prodigious about it.

Disney is once again making its catalog profitable with a new image version. real of Snow White with the corresponding songs and narratives adapted to the current times and the economic needs of the project. Sinister witches and chilling moments aside, the 1937 film was very much geared towards children. The most concrete romantic plot incorporated into the remake It lends a certain dramatic weight to the inexplicable infatuation of the previous work, while also injecting elements aimed at an audience approaching adolescence (while providing a vision of love as a more egalitarian process of mutual improvement and inspiration). Boys who aren't inclined to be interested in princesses will be able to identify with a kind of imperfect Robin Hood immersed in a struggle against tyranny. This plot livens up (or slows down?) an otherwise well-formed narrative that moves along at a somewhat ponderous pace and is unlikely to be memorable.

Disney is once again making its catalog profitable with a new image version. real of Snow White with the corresponding songs and narratives adapted to the current times and the economic needs of the project. Sinister witches and chilling moments aside, the 1937 film was very much geared towards children. The most concrete romantic plot incorporated into the remake It lends a certain dramatic weight to the inexplicable infatuation of the previous work, while also injecting elements aimed at an audience approaching adolescence (while providing a vision of love as a more egalitarian process of mutual improvement and inspiration). Boys who aren't inclined to be interested in princesses will be able to identify with a kind of imperfect Robin Hood immersed in a struggle against tyranny. This plot livens up (or slows down?) an otherwise well-formed narrative that moves along at a somewhat ponderous pace and is unlikely to be memorable.

Johan Grimonprez has woven a vibrant historical documentary about the coup d'état suffered by Patrice Lumumba's government in the Republic of Congo, with the Cold War in the background. The author measures the threads that linked the dreams of fraternity and federation in postcolonial (or should we say neocolonial?) Africa with the political struggles and Afro-American cultural expressions committed to civil rights in the United States, where laws still discriminated against the black population. And, in passing, he livens up the exercise of colonial memory with pieces by Louis Armstrong, John Coltrane and Miles Davis.

In Tutoring, a young and emotional teacher must lead a meeting between the mothers of two children involved in an incident, related by tense family ties and representing two very different profiles of femininity, and the father of one of them. The images that accompany the opening credits of the film are footage of everyday scenes from a nursery school that, without falling into the gloom of horror films, evoke a certain uneasiness, a climate of suspicion. And this raises a question: will the story take the form of a drama or a thriller?