SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Numerootno A story that's too fascinating to pass by...

Paynbob It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Sameir Ali Marcel Marx is an old man making his day to day living by shoe polishing. He lives with his wife. He cannot make a living out this job, he cannot make both ends meet. Though his economic condition was pathetic, the essence of human feelings was present in him. He has to send his wife to the hospital to cure her illness. She doesn't want him to know that there was no cure for the disease. Meanwhile, a patrolling officer hear some sound in the container that was due in shipment. The officers open the container and finds illegal African immigrants trying to escape to London. Only a boy escapes from them. As a course of fate, he gets united with Marx. Marx tries his best to send him to London, so that the boy can unite with his mother. Marx spends all his savings, in addition, he earns more money from other ways... just to send the boy to London. The climax reminds me of the evergreen classic "Casablanca".Aki Kaurismäki is one of the favorite names among the real film lovers. His films are really different from others. He has his own path of film making. This movie has a lot of still frames, the camera rarely moves, yet the frames are amazing and stunning. The handling of lighting is remarkable. I think reference to the golden films of the 60's. Set design and careful selection of the colors are all lessons for aspiring film makers and students. There a philosophy in each frame.If you are a real film lover, or a film student, this is a must watch movie.#KiduMovie

Framescourer Over the weekend I've watched two distinctly cinema-homage films. I say this to justify comparing Simon Pegg's Paul to Aki Kaurismäki's Le Havre, two films that might otherwise incomparable. I found Le Havre warm but occasionally baffling, which is as much a measure of my ignorance as of Kaurismäki's tenacity to older compositional styles and narratives.The one clear reference that I couldn't miss was that of naming the protagonist's wife Arletty. Le Havre plays out rather like a floating analogy of a resistance drama, much like Marcel Carné's Les Enfants du Paradis, whence comes Arletty, the soul of the film, of France. Elsewhere I liked the heavily studied composition of many of the shots although they didn't always add up aesthetically and the inconsistency of this was distracting. For a film that's so aware of cinema, it was curiously lacking in self-awareness. 5/10

rightwingisevil dangling between political correct and incorrect. but either way, it's very hard to define and distinguish the correctness and incorrectness. yet first, have to point out that this is a very pretentiously scripted movie by a very pretentious director with horrible performance almost by all the actors cast for this pretentious movie. watching those actors played those roles was like watching some robots in the human forms followed the rigid and hollowed dialog to carry out the contract. the scenario was ridiculous and the scenes settings were also pretentious, trying too hard to make this film look like a 1970s production. the people in the film and their costumes were all like what we saw in the 1970s. the tones of this film also pretentiously used old blueish color tones to make it look like a classic movie but actually not. the screenplay borrowed the hot topic of illegal aliens who smuggled into France seeking better lives but at the same time almost ruined its social structures financially and culturally. illegal immigrant problem now is the hottest topic, headache and disaster to all of the European countries. it almost paralyzed and dismantled those countries' societies. yet this movie tried to use such topic to show its humanity by focusing on an African boy chasing constantly by the french police force. in order to show the viewers with some diminishing french conscience, the director and screenwriters even manipulated us by showing us that french police force was like cold blood killers who even tried to gun down the illegal immigrant kid, if not been stopped by the police chief. the french people are now living between black-gray-white situations, they don't know how to deal with such complicated controversial immigrant problems, because after one generation mixed marriage, their social structure has already been becoming dipped more to the gray area. they don't know how to solve the problem, just like the Americans don't know how to deal with the illegal immigrants from the Latin America. that's why last year, we got a movie titled 'better life' to describe the similar situation in America, before that, there were already hundreds movies in the same topic tried very hard to seek a balance point, exactly similar to the problem now spread out in the European countries like pandemic disease, either you accept it or hate it, you have to face it on a daily 365/24/7 basis. this whole movie didn't even ring a bell to me during the viewing, since all the actors seemed to be suddenly dropped into b-level or c-level actors, their performances were simply pathetic. the awkward dialog affected them greatly.this is a poorly produced awkward and moronic movie with a big heart.

shvne-975-460321 Being my all time favourite director, i had really high expectations for this film, but after watching it few times can say i'm rather disappointed. Cinematographically it's flawless, and this is something that Kaurismaki has refined over the years: the scenes, the lights and the colors. On the other hand the story; still has this special mixture of simplicity, absurdity and realism, But it's mostly the child personage that bothers me, because it draws too much empathy from the public, which I think is a cheap-trick for such a great director. What I like about his "loser" characters is that I can laugh at their sufferings – here this is not so much the case. It appears "tolerant"; "politically correct", clichés that are appealing for wider public. He has always been nostalgic in a very ironic way; this time it seems to me he's just getting old