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An award-winning play is being made for the big screen - and by its director, who had no previous film experience. Can that work? Florian Zeller proves that it can. Dementia-stricken and proud Anthony learns from his daughter Anne that she will soon be moving to Paris. From then on, Zeller narrates the successive decline of Anthony's mind in complex but highly emotional and, above all, human ways. Anthony Hopkins is ideally cast for the lead role of Anthony. On the one hand, he is an empathetic father who means well for his daughter, but on the other, his pride and one-dimensionality make him sullen and critical of her decisions. Hopkins has never been seen in this simplicity. His character does not want to accept that his illness is getting the upper hand and is sure that he can manage without the help of care. At the same time, the increasing memory loss is told exclusively from his point of view, which automatically leads you to sympathise with the protagonist despite his often impossible deeds. This sympathy factor that Hopkins permanently carries with him makes it much easier to relate to him. It is arguably his best performance since his legendary one as Dr Hannibal Lecter in The Silence of the Lambs, albeit much more nuanced and realistic. While the strong female role at his side then was Jodie Foster, this time it is Olivia Colman as Anthony's daughter Anne. She logically disagrees with her father and does everything possible to organise the help he needs before she leaves for Paris. Colman is the heart of the film. She is heartbreaking in this role and often cannot emotionally withstand the pain that the sight of her suffering father causes her. Her chemistry with Hopkins is also very deep and often one would think that the two actually share this kind of father-daughter relationship. Colman is fragile in her individual scenes, but also forcefully strong and always torn about her father's treatment. Rounding out the great cast are Imogen Poots, Rufus Sewell and Olivia Williams, all constantly taking on different roles due to the confusion in Anthony's head. Williams in particular adds an enormous amount of vulnerability to her few moments, especially the final scene. Zeller has succeeded in a very particular kind of filmmaking with The Father. In its simplicity, the film is nevertheless very complexly constructed, especially in the first hour, and one cannot believe that dementia can apparently really trigger this process in a person's head. Because Hopkins does such a fantastic job of translating this and the editing also relies very effectively on surprise and suddenness, it never becomes too much to bear. Zeller also manages not to make the film seem exclusively sad, but also enriches the plot with thoroughly funny interludes. Basically, however, The Father is a sentimental drama that continuously makes hearts beat faster and that you can hardly get through without shedding a tear. An instructive, authentic and fascinating piece of filmmaking that is an absolute hit for a directorial debut and should be seen by everyone despite the vehemence of its subject matter.

This American-South Korean indie film reflects memories from director Lee Isaac Chung's childhood. After manageable living conditions in California, the South Korean family of four Yi moves to rural Arkansas, where the father wants to start a farm. This decision causes tension with his wife. The two children try to distract themselves from the arguments between their parents. However, they are bored most of the time until their hitherto unknown grandmother strides into their lives. The great strength of Minari lies in its outstanding cast and their chemistry with each other. There is no clear protagonist, they all get their own storylines and experiences. Alan Kim, as the youngest son David, is already confronted with fundamental situations. He and his big sister Anne (Noel Kate Cho) have several moments where unconditional sibling love is communicated in a very simple way. This makes their bond enormously natural and real. The most profound relationship, however, is shared by David and his grandmother Soon-ja, played by the fantastic Yoon Yeo-jeong. Although they don't get up to operating temperature at first because David refuses to acknowledge Soon-ja's anti-granny ways (she doesn't cook or bake and uses swear words), the two grow closer as the film progresses. Every time they share the screen, hilarious and emotional dialogue is guaranteed. Exclusively the latter applies to Steven Yeun and Han Ye-ri, who play the two parents Jacob and Monica. Although their mutual love is always palpable, they are in a continuous conflict that reaches its climax at the end. Jacob wants to leave sorting chicks behind and prove himself to his family with his own farm. Monica, on the other hand, is tired of living in a trailer and doing Jacob's bidding and is eager to give her children an adequate home. Both embody a couple that seems stable on the surface but is crumbling badly underneath. In addition to the fantastic actors, Chung Minari's direction adds the finishing touches. The script is funny, gets under the skin and gives someone the realistic picture of a family that wants to start a new and better life in the land of many opportunities. But the American dream is really only a secondary matter in Minari. Rather, Chung captures a natural and down-to-earth mood with stunning camerawork, a beautiful score and a lot of focus on the atmospheric mood. This makes the film a technical masterpiece that takes a lot of time in some scenes and therefore often seems almost still. This can sometimes seem tedious, but is completely in keeping with the overall feel of the film. While the first two acts of Minari focus on a lot of build-up and interpersonal interactions, things come to a head enormously in the last third. The film is told in a matter-of-fact way. Its inner and outer beauty makes Minari the feel-good experience of 2020!

As a general rule, you can look forward to a film, but you should never go in with expectations that are too high. In the case of Emerald Fennell's black comedy revenge-thriller Promising Young Woman, however, any expectations are justified and it must be with the devil if you leave the cinema disappointed. The story about 30-year-old Med School dropout Cassie, who leads a kind of double life after a traumatic event long ago, is original, involving and deals with a very important social issue. Carey Mulligan is known to most from her breakthrough film An Education as the kindly but rebellious Jenny or from her somewhat dimwitted role in The Great Gatsby. Here she takes an absolute quantum leap in terms of acting and Mulligan succeeds brilliantly. She plays a poor soul who actually longs for love and affection but, because of her mission, doesn't let any real emotions get to her. Casey Thomas is a fascinating character in that, despite her questionable and sometimes bitterly evil actions, she is always aware of the situation. In one scene she responds to the statement "You're insane" without batting an eyelid with "No, I honestly don't think I am". No line could describe Casey better. In a world full of sexist machos, she's out for revenge for much of the film, except when confronted with her sudden love interest Ryan. Played by Bo Burnham, the young doctor comes across as the perfect Good Guy, completely refraining from physical advances in order to gain Casey's affection. Mulligan and Burnham share electrifying chemistry in every scene together, highlighted with their witty and almost toxic dialogues. Rounding out the all-around stellar performances of the cast are characters like Casey's parents Susan (Jennifer Coolidge) and Stanley (Clancy Brown), who are distraught with their daughter's condition but love her dearly. Alfred Molina has only a handful of scenes as the depressed lawyer Jordan Green, but shines with much vulnerability. Chris Lowell, Max Greenfield and Alison Brie all play certain antagonists from Casey's mysterious past. Interestingly, they are all usually seen in straight comedic roles. Not too much can actually be said about the plot of Promising Young Woman, because the film is one of the most unpredictable and shocking thrillers in recent years in the way it is made. It is very fast-paced and always colourful and flashy, which gives you a somewhat distorted picture of this genre. In general, it is not a pure thriller. It has many funny and even sweet, rom-com-like moments. Beneath its surface, however, it is bitterly nasty and Fennell manages to reflect the theme of sexual abuse in both subtle and obvious ways, which is very good for the balance of the film. The ending is probably one of the strangest of the year and will leave some confused and possibly even underwhelmed. However, Mulligan's best career performance, the multi-faceted and brilliantly written script and its uniqueness and imperfection make Promising Young Woman one of the most important films of the year that will be in discussion for a long time.

Director Thomas Vinterberg cannot be praised enough for this film. After four days of shooting, his daughter Ida was killed in a car accident. After a week of mourning, the Dane was back on the set. The idea for the film was also inspired by his daughter. It tells how four middle-aged schoolteachers go through their midlife crisis based on a theory of the Norwegian psychiatrist Finn Skarderud, who says that a blood alcohol level of 0.05 makes people go through life more relaxed and free. Each of the four main characters gets their own storyline and lets us share in their suffering in life. Once the actually optimistic psychology teacher Nikolaj, played by Magnus Milland, who has to deal with bed-wetting children at home. Then the hapless choir director Peter (Lars Ranthe), who sees himself as an expiry model and cannot find love. Sports teacher Tommy (Thomas Bo Larsen), a coach who is actually loving towards his kids but lacks any motivation. And finally Mads Mikkelsen's character Martin. He accepts being a bore and goes through life virtually invisible, which has an impact on his marriage to Anika (Maria Bonnevie). The plot is told almost exclusively from Martin's perspective. Mikkelsen thereby appropriates pretty much all the facets a person can have. At first he is desperate, then through regular alcohol consumption he suddenly becomes lively and cheerful, before his emotional world is a constant up and down at the end. Mikkelsen disappears into his role and plays this character with a great deal of subtlety and sometimes impulsiveness. Not only Mikkelsen is fantastic, his three co-protagonists also act at a high level. This is especially noticeable in the scenes in which the four of them discuss their project, explore new spheres and go out together. In the individual moments, Mikkelsen stands out because Martin takes up the most screentime. Another Round is a funny film for the most part, although the dramatic moments predominate, especially towards the end. Only then do you really become aware of its seriousness and it takes you with it. Actually, many elements correspond to a classic tragicomedy. Vinterberg manages to lay out the film in such a way that this is not always obvious and you stick to one genre in every scene. It may be mainly about the (worrying) drinking culture among adults and young people in Denmark, but Another Round is also an appeal to life in general. Yes, alcohol can awaken undiscovered free spirits in people, but equally it can literally destroy relationships and lives. Vinterberg covers all these aspects brilliantly. Most of the film runs without any musical accompaniment. But when it does, the classical music adapts to the action. The same goes for the camera work and shots: When the characters are in crisis, the film drags. When they're on the edge, it thrills with outstanding pacing. Yes, Another Round may be tedious in places, but this “weakness" is made up for by the explosive finale at the latest, which may be the best of the entire year.

The tragic story of former Black Panther Party leader Fred Hampton has found a worthy recipient in director Shaka King. In his second feature film, Shaka tells the story of the rise of the young Hampton in Chicago in the late 1960s. The latter is unaware that a member of his own ranks is cooperating with the FBI to put a stop to him and the party. Judas and the Black Messiah is marked by outstanding performances. Lakeith Stanfield acts as the "Judas" in the film, i.e. traitor William O'Neal, who is infiltrated into the Black Panther group as a mole by FBI employee Roy Mitchell (Jesse Plemons) after attempted car theft. The two share a very believable and atypical chemistry that almost makes you suspect a friendship of sorts. The real person behind William O'Neal even said years later that he admired Mitchell. Stanfield is the real protagonist of the film. Large parts are taken up by Daniel Kaluuya as Fred Hampton, the "Black Messiah" beloved by many but just as much opposed by many. Kaluuya is tailor-made for this role. He is electrifying, powerful and does not hold back in illustrating his emotions. It is above all Kaluuya's eyes that say a great deal about his character and illustrate the determination Fred Hampton displayed to assert his values. Especially during speeches he lets it all out and combines all kinds of emotional states: suffering, passion and anger towards the "Pigs" (racists). Dominique Fishback, as Hampton's partner and mother-to-be Deborah, takes up quite a bit of screen time and displays enormous poetry and passion in her few dialogues. She and Kaluuya also have terrific chemistry. Judas and the Black Messiah is ultimately just a semi-biopic about one of the most significant black freedom fighters in American history. The focus is on O'Neal's betrayal and Hampton's relentless fight against racism and for equality. Besides the superb acting performances, the cinematography and King’s atmospheric direction stand out as major strengths. If the film can be criticised for anything, it is that due to its lengthy structure it often fails to find a red thread and gets lost in arbitrary subplots a few times. These have relevance to the main plot, but take up several minutes of the running time. Without Stanfield's authentic acting, his character would lack a lot of humanity, because it is difficult to empathise with him despite him being the protagonist. The exact opposite is the case with Kaluuya, who absolutely dominates and captivates the film. From start to finish, he fills Hampton's big shoes brilliantly, honouring a historical figure who unfortunately flies far too much under the radar. Judas and the Black Messiah is an excellently realised film and communicates important and educational incidents.

When you see films with an eternal time loop, you automatically think of the legendary Bill Murray comedy Groundhog Day. The theme of the constantly repeating day was taken up by numerous films after that, but none came close to the well-aged classic. Max Barbakow may now have succeeded with his directorial debut film Palm Springs. The film tells the story of Nyles and Sarah, who share the same fate after an incident and grow closer in their literally repetitive lives. The two protagonists are embodied by Andy Samberg and Cristin Milioti. Samberg plays the carefree and cynical Nyles with quite a lot of wit and has surprisingly profound monologues despite his character's initial apathy. These come out especially once he meets Milioti's character Sarah, with whom Nyles shares some similarities in lifestyle. From the point where they become unwilling companions, their chemistry is unstoppable and has nothing of a superficial Rom Com relationship. They are cheeky, reckless and hilariously play the trump card that their actions will have no consequences. Their chemistry doesn't just come through the comedic factor, though, because from Sarah in particular we get glimpses into the mind of a person who realises her mistakes as the film progresses and tries to mend her ways. Together they also have romantic scenes that are not over-staged and played up, but just happen naturally. The presence of the two is so powerful and stirring that the supporting characters only get a chance to shine at points. J.K. Simmons is always out for revenge as the frustrated Roy, who shares the same suffering as Nyles and Sarah, until even this one-dimensional character shows other facets towards the end. Simmons once again shows that he is most comfortable in supporting roles and uses his subtle humour at the right time. The rest of the cast around Camila Mendes, Meredith Hagner and Peter Gallagher round out the importance of the plot well without making big appearances individually. Palm Springs is a romantic comedy that does not emulate the cliché of its genre. Barbakow has brought in an idea that we have seen many times like this before, but has a special implementation. The film communicates important messages when it comes to adapting, admitting mistakes or leaving your comfort zone. However, it manages to never fall into the over-the-top drama vortex because the funny and unrealistic scenes always prevail. Paradoxically, another strength of the film is its variety. The fast pacing and treacherous editing never give us the feeling that it is actually the same day throughout the entire ninety minutes of running time. Another feel-good element of the film is its entertaining soundtrack, which makes you want to dance along constantly. Even though Palm Springs has its cliché moments, it is the ultimate cinematic summer experience that gives you a lot of pleasure in times like these.

An atmospheric indie film to which Chloé Zhao has lent a great deal of down-to-earthness, humanity and poetics with her sensitivity in the director's chair and which is considered a hot contender for this year's Oscar race. Nomadland is a character study of the suddenly "houseless" Fern, who tries to adapt to her new life as a nomad as best she can after the death of her husband. On the almost documentary-like followed journey in her van, Fern meets people with different personalities who help her in her new world. The centre of the film throughout the entire running time is clearly protagonist Fern, played by two-time Oscar winner Frances McDormand. She undergoes all kinds of setbacks and always carries around an inner conflict. She could do better, but wants to take the challenge on herself with all her might. McDormand embodies the basic mood of the film and tells the story of many: she is a victim of the glaring class differences and capitalist overweight in the USA. In the process, she works her fingers to the bone, is constantly on the lookout for new jobs and means well for people. She illustrates what the new situation triggers in her character and how she keeps her head above water. Fern goes hand in hand with the mood of the film: she is unobtrusive, subtle and has a lot of depth. This role is arguably the most important in McDormand's glorious career so far because she represents a group of people who are not seen. The actress lived in a van on a campsite for a few months before the start of filming herself and got acquainted with this kind of life. David Strathairn, as Fern's good friend Dave, is also very important to the protagonist's journey. He makes her conflicted by his obvious intentions and lets us experience the interpersonal component first hand. This comes across in almost every scene in the film, despite the clear main character. The other characters are real-life people, which brings an enormous amount of closeness and authenticity to the film. McDormand carries the plot of the film brilliantly on her shoulders, but the real heroine of Nomadland is its director. You can tell from start to finish that Chloé Zhao cares deeply about this subject matter. She has turned a low-budget independent film into a technical masterpiece against which every action film with elaborate special effects falls short. The cinematography captures lengthy and beautiful shots of the landscape, making the film's actually dreary setting seem colourful and idyllic. The music by Ludovico Einaudi is softly and empathetically composed, making Fern's rides in the van meaningful. Zhao has put together a film that takes its time, but where all the cinematic elements become one big whole. As a result, Nomadland does not create seas of tears despite the sadness of its subject, but a cinematic masterpiece whose basic idea is always present and sticks with one.