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A reaction paper of the movie “I Am Mother”"I Am Mother" adds another noteworthy invention to an already filled gallery of sentient science fiction robots that are as complicated as most humans. It's frustrating yet intriguing, and tough to evaluate in-depth without spoilers because it's propelled b...

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A reaction paper of the movie “I Am Mother” "I Am Mother" adds another noteworthy invention to an already filled gallery of sentient science fiction robots that are as complicated as most humans. It's frustrating yet intriguing, and tough to evaluate in-depth without spoilers because it's propelled by regular narrative twists. It goes over the entire plot in great length, so if you haven't watched it yet, you should stop reading now with the knowledge that it's worth your time. Mother, however, would be nothing without her kid (Clara Ruugard), whom she reared from an embryo and refers to as Daughter. Despite a lingering sense that the filmmakers never quite figured out how to capitalize on their morally and philosophically rich premise, and instead settled for the superficial, cliff-hanging pleasures of "And then this happened...", their fraught central relationship elevates "I Am Mother" beyond mere proficiency and makes it memorable. While seeing this film, I am overcome with remorse because I used to be that child in the film. When my mother teaches me life lessons or gives me a sermon, I never pay attention and believe they're being overly tough with me; I used to think they were wrong, but now I see why they're doing it. It's for the sake of my own sanity. However, I am grateful and blessed that I saw this film because it has taught me that a mother will do anything for her child, even if it means her child will be disappointed. But I just disagree with the daughter's decision to raise a family on her own since she needs to learn so much about life. There are moments when you must make a quick decision, and the daughter must learn how to do so. For making a film like this, the filmmaker is a true genius. This movie has taught me a lot. Hopefully, the filmmaker will be able to make a sequel. Overall, the film is a masterpiece; it will leave you with feelings you've never had before, as well as exhilaration while viewing it; I recommend it to children who believe they know everything there is to know about the world.

A reaction paper of the movie “Parasite” This movie is created by Bong Joon-ho, he has done a number of films about class (including "Snowpiercer" and "Okja"), but "Parasite" is perhaps his most audacious investigation of the world's systemic injustice. It's a tonal balancing act that starts out as a satire—a comedy of manners that pits a group of likeable con artists against a wealthy family of uncomfortable eccentrics. Then Bong makes a sharp right turn, asking us what we're looking at and sending us hurtling toward the carnage. Is it truly possible for the impoverished to enter the world of the wealthy? The narrative in the second half of "Parasite" is one of the most audacious I've seen in years. The film continuously threatens to fall apart—to take one too many confusing turns, resulting in the project's failure—but Bong keeps it all together, and the result is spectacular. The protagonist Kim ki-woo (Choi Woo-sik) and his family are impoverished. They are battling to survive, creating pizza boxes for a living and stealing wifi from a coffee shop. When a buddy offers to recommend him as an English tutor for a girl he's been working with because the friend has to go out of the country for a bit, Kim Ki-woo life’'s changes. The friend is head over heels in love with the young lady and does not want another teacher "slavering" her. Given everything we know and discover about Kim Ki-woo, it's reasonable to wonder why he trusts him. The young man adopts the name Kevin and begins tutoring Park Da-hye (Jung Ziso), who, predictably, falls in love with him right away. Kevin has a much grander scheme in mind. He intends to move his entire family into this house. He soon persuades Yeon-kyo, played by Jo Yeo-jeong, that the house's boy requires an art coach, allowing Kevin's sister "Jessica" (Park So-dam) to join the picture. Mom and dad soon join them in the Park mansion, and everything appears to be going swimmingly for the Kims. The Parks appear to be content as well. After then, everything shifts. The script for "Parasite" will get a lot of attention since it's one of those clever twisting and turning tales for which the screenwriter gets the most credit (Bong and Han Jin-won, in this case), but it's also a visual language exercise that reaffirms Bong's mastery. Bong's picture is compelling in every composition, thanks to the outstanding cinematographer Kyung-pyo Hong ("Burning," "Snowpiercer") and an A-list design team. "Parasite's" societal critique causes havoc, but it never feels like a didactic message film. It's strangely both joyful and depressing at the same moment, and I'm still not sure how. Please bear with me on this. The thrill of seeing every confident frame of "Parasite" is tempered by thinking about what Bong is deconstructing and saying about society, especially with the exquisite, truly horrific concluding sequences. It's a conversation starter in ways we only see a few times a year, and it's another reminder that Bong Joon-ho is one of the most talented filmmakers working today. "Parasite" is unlike any other film you've ever seen.

I've discovered that I can be a parasite on other people at times, which makes me unhappy. I'm being selfish in my actions and exploiting people for my personal gain, but this film is fantastic. Finally, the film informs us that it is a vicious and merciless parody of wealth inequalities. The plot of the film revolves around a poor family, the Kims, invading the life of an affluent family, the Parks, by working for them.

A reaction paper of the movie “The Platform”

The film "The Platform" is a fantastic film that depicts inmates held in vertical cells or the hole in the future watching as inmates in the upper cells are fed while those below go hungry. There are exactly 333 floors in total. Every day, a platform drops through a massive hole in the center of the building, providing the sole opportunity for meals for the whole day. On level 1, the inmates have access to a delectable spread of lovingly prepared meals. It may make it all the way to the bottom with something for each prisoner if everyone merely ate a modest ration. It is never the case. Goreng (Ivan Massagué), who volunteered to attend the prison in order to quit smoking and read a book (everyone is allowed one thing), had no idea what he was getting himself into. As the film begins on level 48, his first cellmate describes the process of The Hole to Goreng. There are generally some leftovers on the platform by that time. The most heinous aspect of this system, and perhaps the film's most brilliant societal observation, is that convicts are rotated every month. So you might be content on 5 one day and miserable on 150 the next. And if you're wondering how these individuals manage to exist on the lower floors, you might not be prepared for where this film takes you. The social allegory is clear: there would be enough for the have-nots if the haves didn't take more than they required. However, authors David Desola and Pedro Rivero, as well as director Galder Gaztelu-Urrutia, aren't happy to rest on their laurels; with each new development, they expand and explore that concept. Given its confined context, it's a picture with numerous impressive twists, each of which puts a new perspective on how the film is supposed to mirror society. I was particularly intrigued by how the changing floors affected folks who had previously been on lower levels but were now fortunate enough to be on higher levels. Rather than being sympathetic to individuals in similar situations, they appear to take, even more, making up for lost time and realizing that they may never again reach this close to the top. Law is required in the world. Without it, there would be chaos and strife among communities and social groupings. Law is a man-made construct that is extremely important because it brings justice to society. The legislation's main goal is to protect people's total development by ensuring security, peace, and safety. As a result, we need someone who will govern in the people's best interests, not for personal gain or revenge. In conclusion, after I watched this film, I am saddened by the fact that this is exactly what is occurring in the globe right now; we need to change the administration; we need a change. In the film, I passionately think that the child is the message and that youth represents hope. When this young man is given the opportunity to lead, I hope he has the same heart as the protagonist.

A reaction paper of the movie “A man called Ove” Fredrik Backman's work A Man Called Ove is named for its grumpy yet quietly magnificent protagonist. Ove, a 59-year-old widower, was forced to retire early due to a cardiac issue. Ove is contemplating suicide because he has lost his sense of purpose and is grieving for his late wife. Ove (Rolf Lassgrd) is the quintessential irritable old neighbor in this film. Ove has given up on life. He is an isolated retiree with stringent morals and a short fuse who spends his days enforcing block association laws that only he cares about and visiting his wife's grave. Following the unintentional flattening of Ove's mailbox by a rowdy young family next door, an odd friendship develops. What emerges is a funny yet touching story about stubborn cats, surprising friendships, unwanted roommates, playful small girls with tons of colors, and rescued animals. friendships and uncovering the Ove that his wife had fallen in love with. You not only begin to understand why Ove is the way he is, but you also begin to adore and root for him. When I see this movie, it makes me wonder if doing the right thing is good for a man. When you observe the protagonist's personality, you'll agree with his neighbor that he's a killjoy old man, but he's actually doing the right thing for their town, which makes him a bad person. I'm glad that, like Ove, I have someone with whom I can share love, companionship, and compassion. We've arrived at the point when we require assistance in coping with our loss. So the most important thing I take away from this film is that you don't have to fight a battle alone. Seek assistance because there is strength in numbers.

A reaction paper of the movie “Adan” It's a narrative about a young woman and her lesbian girlfriend fleeing the scene of her abusive father's murder. The story revolves around two women, Ellen and Marian. Marian is a city girl, whereas Ellen lives in the highlands. When Ellen sought to flee her overprotective father, Lucas, when they were both children, they met. The movie is well shot. Albert Banzon's cinematography is brimming with mood and atmosphere, despite the fact that the plot couples the enticing mysteries of sexual awakening with final blood and bloodshed. Whether bathed in the stench-filled sweat of rural summers or trapped inside the confines of tight living spaces, each frame has a personality. The film is always fascinating to watch. The film is a relentless seducer. The leads' performances aren't merely adventurous. They're also well-informed and persuasive. Rhen Escano plays a country girl whose acceptance of her womanhood is hampered by her yearning to move to the city. She's a mysterious presence, and her ability to blur the lines between consenting age and consenting age makes her alluring. Escano's transformation from impossible fruit of temptation to achievable fantasy is completed when she is paired with Cindy Miranda, who evolves from being the older sister she never had to a lover. I appreciate the characters' personalities in this film; they have the strength to keep going despite the obstacles they face. But it's also sad because I didn't like the ending. I've learned that you must consider the repercussions of every decision you make in life. In order to survive, you must be strong. Watching this film is a fantastic experience.

A reaction paper of the movie “The KingMaker”

This documentary offers an unprecedented insight inside Imelda Marcos' political career, telling a cautionary tale of a powerful leader whose skewed vision of reality split the Philippines. Calauit, an island of dying animals in the Philippines, existing in its current state as a result of Imelda Marcos' unbridled opulence. She wanted creatures that were not native to the Philippines, and officials were bribed to make it happen. It's the kind of landscape-altering act that people with power and wealth do without thinking about the ramifications, and it's a great symbol for her greedy, selfish, blinding greed. In her excellent "The Kingmaker," director Lauren Greenfield, our best filmmaker when it comes to documenting the ultra-rich in films like "Generation Wealth" and "The Queen of Versailles," returns to this island a few times, recognizing how its almost haunted nature symbolizes the ghosts of Marcos' past. Greenfield's film, which intercuts interviews with Marcos and her son with archival footage and other experts on the Marcos regime, is a chilling reminder that those in positions of extreme power rarely, if ever, consider the consequences of their actions—indeed, they frequently believe the word "consequences" should not apply to them. Take what you will from "The Kingmaker" in terms of its relevance to the current political atmosphere in the United States, but parallels to unfettered power across the world feel purposeful and add complexity to the film. If we aren't careful, we might all end up on an island of dying animals. The Philippines, in Imelda's opinion, have deteriorated since her family assumed power. "There were no beggars before," she says as she distributes crisp bank money to street children and hospitalized patients. But where did she receive her own funds, which she now shares with others? What does such generosity entail? The Marcos family is accused of looting between $5 billion and $10 billion from the Philippines, and while many of their valuables were seized by the Presidential Commission on Good Government (founded by Marcos' successor, Corazon Aquino), they have a number of valuable artworks stashed that can be sold whenever they need money. In the end, "The Kingmaker" leaves it up to the audience to figure out whether Imelda's myth-making is true. However, it's tough to overlook the film's message about the dangers of political dynasties, which audiences have witnessed firsthand in America with the Kennedys, Bushes, Clintons, and now the Trumps. Even the best-intentioned people can be deceived, using their ambitious spouses and dumb sons to recapture power they believe is rightfully theirs....