The Apprentice (2024) by Ali Abassi
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The Apprentice (2024) by Ali Abassi

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https://x.com/discussingfilm/status/1893032959910744220?s=46
This is really disappointing news. I hope Sebastian’s okay, I feel like he’ll take this hard. He’s on such a high right now. But most importantly I hope the victim is okay.
Christ. If true, this is just awful in so many different ways. I really hope the victim is doing alright, and I am so glad that they've been taken seriously and that action was taken in the wake of this incident.
And while it's not the main thing here, I think you're right about Sebastian taking this hard. It must be difficult not to be affected by someone you trusted doing something like this. I just... I don't get it. How can you make a movie about someone who's pulled this type of shit and condemning it, and then turning around and doing a similar thing yourself? It's just depressing and honestly pretty scary, even if it's sadly getting harder and harder to be truly surprised by this sort of news these days.
Pedro, bella, and Ali! It is always nice to see when the actors and directors get along so well.
borders - ali abassi
Shelley (2016) dir. Ali Abassi

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See the U.S. trailer for the Cannes winner Border, Sweden's Oscar contender.
“I have love in me the likes of which you can scarcely imagine and rage the likes of which you would not believe. If I cannot satisfy the one, I will indulge the other.”
At a glance, you might conclude that that line from Mary Shelley’s Frankenstein has provided the foundations for pretty much every decent monster movie since James Whale adapted the text back in 1931; perhaps even before. This delightfully grungy and ethereal contemporary horror from Iranian-born, Denmark-based Ali Abassi concerns a romance between two creatures who happen to be feeling out those opposite warring sides. One is attempting to satisfy a craving for love while the other indulges the violence (incidentally, could Abassi’s debut Shelley be named for the 19th century writer?). Border, like Frankenstein, is a work about the “Other” and how that Other might operate if it was raised against its nature, only knowing human society.
Our other is named Tina and played with great poignancy and much prosthetics by Eva Melander, all puffed-out features and slightly worrying canines. Her abnormalities do not end there, however: she has a scar above her tailbone, a mark on her temple from being hit by lightning as a child and, most intriguingly of all, a sense of smell so strong it allows her to detect peoples’ emotions.
Continue reading our Cannes review of Border.
Como andas hoy? Ayer creo que termine soñando contigo y un paseo en el bosque
holi, anon. ¿bien y tu? ¿crees o soñaste? podríamos ser estos: