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Ridley Scott and Joaquin Phoenix are names that will always automatically raise expectations. I definitely can't say I was bored because the production design, the battlefield scenes are very engaging. But less is sometimes more, and Ridley, to his detriment, tried harder. Napoleon is such a bloated montage of Bonaparte's most pivotal battles and campaigns, interspersed with a "romantic" line with Josephine. I would have appreciated a lot more focus on one or two specific periods and battles, and I would have especially packed in a lot more psychology and politics to go much more in depth in the characters, because honestly I found Napoleon presented this way to be terribly flat and soulless, despite Joaquin's standard good acting. I would have delved more into his motives and complexes. The relationship with Josephine feels terribly underdeveloped, because on the one hand we have mutual love letters full of respect, and on the other, in front of the camera, we see a kind of cold relationship where love and respect are not visible even from a distant express train. It's a shame, I think the audience would have been much more interested in a deeper analysis of the character of Napoleon himself, to take something we've seen hundreds of times and present it in a slightly different way as we saw in, for example, Todd Phillips' Joker. I just don't see any added value here. But I'm also quite interested in the Director's Cut, because I only just realised that I saw French actress Ludivine Sagnier in the opening credits, who is not in this cinema version at all So what is the Director's Cut hiding?

The biggest problem with Maestro is that it has all the ingredients for success: we see precise and solid filmmaking and great, award-worthy performances, but it absolutely lacks soul. For me, that means I'm unable to form a connection to any of the characters, and there's a lack of emotional involvement. You finish watching it and then you can immediately go on to the next one, which to me is not the mark of a good film. So I totally understand the low rating. I'm not able to give more than 3 stars myself, and the third one is for Bradley Cooper's performance.

Normally, I don’t review Czech productions, but I promised this to a friend. I honestly haven't seen anything so terribly pathetic and embarrassing in a long time. It’s one disgusting cliché after another. It seems that it doesn't matter if women are capable, self-sufficient and successful at work, as soon as a man with a capital M appears in our lives, we fall in love after only 20 minutes spent together, and mysteriously become helpless and miserable cows. We don't take being dumped well, so we devise an ingenious revenge plan: we go to the hairdresser to look even better than before and let him know we can live without him, and what happens? He realises we're the one, we love each other so much after 3 dates? WTF? And I’d rather not say anything about the friends. I may sleep with my best friend's boyfriend, but she will basically forgives me after a slap and one drink and is still happy to go to my wedding. This film is neither romantic nor funny, I mean I laughed, or rather I chuckled at how utterly stupid and rubbish it is. The cast? I understand actors have to pay the bills, but my God! If it was at least some kind of satire, but it's meant to be serious, and that makes me really upset.

I'm incredibly happy that my internal assessment agreed with the main jury of this year's Cannes Film Festival, headed by Ruben Östlund (Triangle of Sadness, The Square), and that Anatomy of a Fall won the main prize, the Palme d'Or. I was incredibly surprised by Justine Triet because I found Sibyl, the last film she presented at Cannes, rather mediocre. On the other hand, it was the first time I saw Sandra Hüller and I was immediately attracted to her, her scenes are the best of the film. Anatomy of a Fall jumps to the top of my rating system and I consider it a masterpiece that I will definitely want to see again. Sandra, Samuel and their son Daniel live in the mountains, not far from Grenoble. The opening scene already suggests that Sandra and Samuel's relationship is likely to be strained, and a few minutes later, Samuel is found dead. The investigation into this mysterious death, which basically admits only two theories, and the subsequent trial, leads to a deep analysis of the couple's relationship. Daniel, who, despite his visual impairment, is a key witness, also has to take part in all this. So far, it doesn’t look like an original and innovative story, right? But Justine Triet manages to present this theme seen a thousand times before in a fresh and unusual way. I can say for myself that I loved every minute of the long running time, I wasn't bored for a second and I can't find a single dead spot. A lot of credit goes to all the actors, whose performances are breathtaking. Sandra Hüller is undoubtedly the queen, but Milo Machado Graner is equally fabulous, and I have to give credit to Antoine Reinartz as the prosecutor. The screenplay and the dialogues also deserve credit. The gradual unraveling of the relationship dynamics between Sandra and Samuel, the revelation of their pasts, problems and disputes to help reveal the truth, as well as Daniel's contradiction between his own memories and what he hears in court, which leads to his utter confusion, are absolutely brilliant. The figure of Daniel, tormented by uncertainty and doubt, is of crucial importance for the denouement, and at the same time it is a mirror of the viewers themselves, who also cannot say for sure how it all happened. A very important moment is the dialogue between Daniel and the social worker: When we are in doubt and unsure, we have no choice but to make a decision... and so, in the end, must we. [Festival de Cannes 2023]

This film was presented at the festival by Quentin Tarantino himself, who described it as one of the films that influenced him the most, and to which he even devotes an entire chapter in his book “Cinema Speculation”. Before the screening, he urged us not to look at the film like the French, but to let our emotions go; to shout, clap and whistle if we feel like it, and the screening looked like that, which may have added to my experience, and I enjoyed the film immensely. I guess that's why I dare say it's one of the best vendetta movies I've ever seen. We are very slowly introduced to the main character Charles, a survivor of imprisonment and torture in Vietnam. On his return he receives a large reward as compensation and he immediately becomes victim of robbers, but he is so hardened by all the torture that getting a sound of pain out of him is an impossible task for these Mexican thugs. After the killing of his wife and son, he begins to prepare for revenge, which may seem lengthy, but slowly leads to that great carnage of a finale. William Devane plays emotionlessness brilliantly, inspiring both respect and compassion, and one quickly grows to like him. Tommy Lee Jones is a great second to him, and Linda Haynes also shines. From what I understand, this film is quite a cult classic in America and not very well known here, which is quite a shame, so let's fix that 😊 [Festival de Cannes 2023]

Considering that I like Italian films, and that I attended a press conference where journalists praised this film highly, I probably had too high expectations. The premise is quite good: a film director dealing with the pitfalls of filmmaking, but also facing personal problems and the disintegration of a film culture that is losing its charm due to contemporary trends. It's a comedy, but all the humour is mostly due to Moretti as an actor who pulls the film along with his distinctive charm. It will probably depend a lot on the viewer and their sense of humour, because next to me in the cinema there were many people who laughed at moments when I didn't laugh at all... so, try and see 😊 For me it was missing something. [Festival de Cannes 2023]

This film was a surprises screening during the closing ceremony after the awards were presented. Honestly, I suffered for the first thirty minutes and I wanted to leave, but I thought I can't leave my last screening in Cannes. Eventually there was a breaking point and I started to enjoy the film quite a bit, even getting a little emotional towards the end. I haven't seen Onward, Soul, and Turning Red, so I can't compare it to the newer or more recent Pixar efforts. But for God's sake, if I take Monsters Inc. (for me the best), Finding Nemo, The Incredibles, Brave, Inside Out, Coco, these are films are of a significantly higher level, and Elemental is, I’m sorry to say, terribly boring and not up to Pixar standards, although there are scenes that definitely made me laugh and moved me, though it pushed too hard on the latter... (Luca is also pretty much borderline, by the way). Kids will probably like it, it's cheerful and colourful, but also full of contemporary popular clichés. [Festival de Cannes 2023]

I am a huge fan of Before Sunrise, Before Sunset and Before Midnight, and I would describe One Night as a kind of French version of the first part of that trilogy, but it’s certainly not a copy. It all starts with a stormy argument between two strangers in the metro, which grows into mutual sympathy and a night spent together full of interesting dialogues and adventures in Paris. Accompanied by Vincent Blanchard's beautiful music, some scenes will make you laugh, others will move you. Both characters are authentic, endearing, and I believe the ending will make you want to see it all again. [Festival de Cannes 2023]

This film is proof that there is beauty in simplicity. When compared to the other films in the festival, The Old Oak probably delivers the most human story. No exaggerated plots, no WTF twists, no emotional wringing, no mindfucks, a popular tool nowadays where there is a lack of quality content. This is a story about ordinary people, about the clash of cultures, about the difficulties of fitting in, about embracing the unknown... The Old Oak is simple, minimalist and at the same time magnificent in the emotions it evokes. It's moving but perfectly balanced, it doesn't push the envelope... [Festival de Cannes 2023]

The second Gondry film I've had the chance to see and I'm beginning to understand his huge popularity (at least in France, the response in the cinema was incredible). I won't go on at length, but it’s the best comedy I had the pleasure of seeing at Cannes, and probably one of the best comedies of the last few years. I don't think I've ever seen so much laughter in a movie theater. I wish so much that other directors would take at least a little example from French comedies, they are so fresh, unpredictable, with novel humour and dialogue. A great Pierre Niney, who made me cry with laughter with his conducting scene. One big Bravo. Put this film on your radar, if it comes to us as part of the French Film Festival, don't miss it. [Festival de Cannes 2023]