indie-film

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Lucky number for derailment palming the air around the the missing family-cell walls while choking her own soul not to drown back into nothingness.

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Warm-acted, well-hearted, boutique jewellery piece of naturally grown independent cinema that convincingly re-touches people´s frailty in great memorable angles of tiny actions.

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Disturbing short-lensed piece of horror stunningly justifying its budget with visuals that let both the right talent in and over-the-top gore out.

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Picture-pitch perfect except for the sound of farts offensively trapping a scattered
plot inside of a frame that hits one square between the eyes.

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Vincent‘s natural performance gallantly steals an already stolen picture show navigated by a loud but warm director who makes the whole thing fly just right.

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Likeable round around Buscemi´s past featuring family and settings no one would object to watch other than a certain female interest that feels uncomfortably young.

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Firmly cushioned in the eye candy of the revolutionary storm—adorned with a Rock & Rococo soundtrack that invisibly frames the perfect portrait of unawareness.

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Influenced by ‚Pulp Fiction‘ and early Kevin Smith  genius, this film belongs to the 90s feelgood-underground pantheon.

A fast burn with warm narcotic release.

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Tightly braided razor-wire-sharp mind-trip-comedy that daringly keeps coming back to itself while swinging hard with colorful come-ups and come-downs.

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Complex hard-watch that feels like a nightmare Sake bar-brawl-beating loop with a heart-kicking pace that punches holes into every moral direction.

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Punch-Drunk Love (2002) meets the Lincoln Lawyer (2011) with a pure Sandler as main stressing agent in a beautifully acted display of ugly characters.

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The hard-working element of this cast, which despite her commitment had to act slutty, while being harassed by its romantic counterpart after the cut.

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The efficient guy who did what he was told, without overcomplicating things.

He was there when a thug was needed – though, actually wasn’t an actor.

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The one loosely acquaintance, who has the random honor of having sex with the hottest female role, while being a childish doofus with face acrobatics.

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The one friend of a lunatic, forced to play the douchebag, but gave a shit and channeled his anger into creating the most ‘whatever’ attitude.

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The one third (wheel) party character, only around for friend talks and absolutely non-effecting shenanigans.
Even these comic relief scenes make him more uncomical.

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The tragically misunderstood man-child mascot of a movie, which had no creative solution for him.
So he became this impossible Gollum-creature, craving for security.

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For a long time, this alien-like being was driving his desperate career blindly into the wall.
But in the long run, won mastermind status.

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The ‘one that stands out’ beauty and mind who’s just there for money and fun.
With the least uncomfortable role, she fulfills her task excellently.

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A clandestine teenage brothel run by hard loving parents who keep basking in God´s rain right where the moral crater seems to bleed the most.

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The original sparks that supernova-ed a whole industry that ludicrously although successfully reinvented both the wheel and how to become a music-free rockstar.

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Komödienartiges Drama über Abgründe menschlicher Naturen. Verzweifelnd nach Sinn suchend wurde der Film immer absurder und erweckte Unwohlsein/ Hassgefühle in mir. Diaz allein überraschte mich.

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