Five international films for broadcast now

“Coconut generation”

Live it on OVID.

Room, latitude, and small wall -fixed screen. This is all in the Thursday film series, a cinematic club that students started at the prestigious IPADAN University in Nigeria, which is the axis of the documentary film of Eline Cassanda. But from this humble preparation, students evoke something greater and richer: a place where young people use cinema to discuss urgent political issues accurately, from colonial compensation to housing justice to the state of general education in the country. The necessity of such forums becomes painfully clear through the “coconut generation”: the youth -led #Endsars movement against the police brutality, and culminates in a massacre of demonstrators in Lagos.

Casanda’s skill here is how to flourish with brilliantly different situations. The Slacker-MOVIE sequence, paintings on the ground are compatible with the protests, and the moments of mourning and communication in a movie that explains how the opposition space should be fought in a society that forces students to the noise of productive citizens, committed to citizens. The importance of the title of the film was ultimately revealed: “Coconut heads” is a term used for Nigerian youth’s rejection as lazy and indifferent. When transforming entertainment – viewing, hanging, and speaking – to tools for intellectual and political development, these students are proud of this insult.

“Black Dog”

Renting it on Apple TV.

The best performance I saw in any movie 2024 is written by WIRY Black Dog in the charming Guan Hu charming RIAN HU’s RiF’s charming heart – not for nothing that won the Palm Dog Award at Cannes Film Festival last year. Lang (Eddie Ping) has just returned to his hometown in the Jobi Desert after a prison period. He joins a patrol attached to dogs (headed by a café owner played by legendary Chinese author Jia Changk) in charge of cleaning the area in the period before the 2008 Olympic Games in Beijing. The strong young man who meets his match in Monager meets unusual intelligence: he maintains mockery and exit from Lang.

Then the violent confrontation with two quarantine ends together to verify rabies, and a relationship develops without words. Both are lonely Rangers, brutal and angry from the outside, soft and loyal from the inside. All this may seem vulgar, but the “Black Dog” is nothing but something. The film is elegant and dangerous, using the wonderful preparation-the locking fields that the sparkling blue sky-the type of social realism is ignored by the gender. Lang cuts the character of the rock music star riding his motorcycle to the bottom of the winding roads and hanging in the zoo that was run by his father, who is now returning-but also every man, struggling to find his place in China quickly, as global aspirations do not coincide with local facts.

“The nature of love”

Anecdoted on Mobi.

Monia Chawker, the director of Quebecais, has a unique style of filmmaking, with volatile editing, and the quick dialogue of fire and humor that reveal the absurd dimensions of daily social relations. In its previous advantage, “Children’s Break”, this fantasy has turned classical male – an exciting nanny – into a honeymith dissection of aging, paternity, motherhood and marriage of two different sexes. Her new movie, “The Nature of Love”, turns sex dynamics. The imagination that was brought to a satirical life here is a female: Magalie Lépine Blondeau, a professor of philosophy that her intellectual husband wore, has an affair with the rugged calf (Pierre Yves Cardinal) who rented her to fix her country house.

Silvan is hembo – good with his hands but less than words – it is not suitable for Sofia circles. This is followed by a predictive comedy, but Chokri never allows her characters to slip into broad types, or allows the film to become a simple sarcastic simulation. Each private personality, from the brother of the Sofia artist to her son -in -law, and every scene is a vortex of competing contradictions and impulses. Although Chukeri gives disorganized desires, sometimes pity for her satirical hero, there is something giving and emotion about her image to seek, familiar to all of us, for the sake of far -fetch.

‘Kishkindha Kaandam’

Holo.

This excitement begins with Malaylamia with a hypothesis of simplicity in Chicovian: the armed is lost. The state elections are just around the corner in Kerala state, the southern Indian province in which the film is appointed, and with political violence, an order has been issued to all those licensed to hand over their weapons to the local police office.

One morning, just as Ajayan is about to link the knot with Aparna (Aparna Balamurali) in court, receives an urgent phone call. His elderly father, Abu Billay (Vigiaragavan), cannot find his pistol. Where did the gun went? What if the wrong person puts their hands? Since these questions wave on the horizon on the characters, Aparna notes that other things are extinguished in their home as well. Appu Pillai’s behavior is irregular. Monkeys roam the property. There are strange fires at night. Police talks about gunmen hiding in the forests.

When Aparna begins to investigate, director Dinjith Ayyathan slowly slowly wrapped. Take advantage of the forests surrounding the Ajayan villa, full of high -rise trees and evil sounds, and it makes a mystery that gives way to the field and turns into a simple, tragic story about sadness, and the delusions that allow us to bear it.

In the feature of Diego Lorenti, mired in the sun, she visits Marta (Katia Burlado), a Madrid researcher, her hometown in northern Spain for the summer before moving with her boyfriend, and ends with a re -contact with someone from her past. It is the classic love triangle – the lover of youth versus the age of adulthood – but “summer notes” do not have dramatic confrontations or disgusting transformations that you expect from such a hypothesis. This is a weak movie like the afternoon on the beach, in following Marta with the unpopular nature as she hangs with friends, goes to weddings, and has extensive attempts with her boyfriend and sends voice notes to her boyfriend. She is dealing with uncertainty about moving her coming life and retreating to nostalgia to the past has not said loudly; Marta dilemmas are revealed under the calm and fun surface of the film, just reaching his head at the end, where a decision is made in a few words and a calm solution. As a drama about the romantic frequency of women (and existential) that avoid either morals or scandal, “summer notes” are the breath of fresh air.