I ended up watching the same number of movies as in May, but overall it felt like a much more interesting month. I watched genres I usually like, from rom-coms to animation, but also gave another chance to sci-fi, horror and anime adaptations. Since I have a lot I would like to talk about, let’s immediately dive into it.

Disclosure Day (2026) by Steven Spielberg

Spielberg’s latest feature left me immediately with a strong desire to rewatch it. During the whole two and a half hours of its runtime, I felt like I was admiring cinema as a craft in its purest form. Every technical aspect is realised with care and mastery. I especially liked the editing; there were some transitions that I would have saved and framed, if only framing videos were possible. I saw some people online accusing it of being slow, but for me it had the perfect rhythm. It balances action scenes with moments of introspection very well. The strongest thing that made me appreciate this movie was the way that, on the surface, it might just look like another sci-fi action story with humans being the bad guys, but if observed closely, it deals with its themes almost in a philosophical way: the reflections on how truth is a fundamental right, the underestimation of humans’ ability to adapt to new things, and the importance of fighting for what is right. The more I write, the more I just feel like I want to watch it again.

3670 (2025) by Park Joon-ho

This Korean indie film has been making its way around festivals since the spring of 2025 and has mainly received positive reviews, so I was very curious and glad I could finally watch it at the Summer Special organised in Frankfurt by the Korean Film Festival Frankfurt.

It’s the story of Cheol-jun, a North Korean who escaped to the South and is trying to make his way in Seoul as a gay man. The most effective element of the movie was the way it balances all its themes. The main ones are what it means for North Koreans to start their lives in the South and the difficulties the LGBTQ+ community still has to deal with daily. But it also touches on some interesting conversations about God and faith. From a technical point of view it’s very simple, with clean directing and editing that let the audience focus on the plot and the characters. The only slightly negative thing was that I found it a bit too long. I liked its reflective and slow rhythm, but there were moments where it became too much and could have been cut slightly. But this is just a personal preference, not a major critique. I will keep an eye on Park Joon-ho and await his next projects.

Takeru Satoh

2026 for me will always be the year when Takeru Satoh suddenly became a constant presence in my life. I had already seen a couple of movies with him in the past years, but somehow while watching the limited series Glass Heart (2025) he completely captured my heart. He has such a unique image and charm that is truly enchanting. So after watching this I started looking into his filmography to see what to watch next and together with the drama An Incurable Case of Love (2020) I watched Rurouni Kenshin (2012) and Rurouni Kenshin: Kyoto Inferno (2014). Both movies are something I would probably have never watched if it weren’t for him being the protagonist. But I am glad I decided to watch them because it felt refreshing to watch something very far away from what I usually watch. They’re so clearly anime adaptations it can get a bit too silly, especially with the villains in the first movie, but the action sequences were very fun and well done and I also enjoyed the story. It reminded me how important it is to sometimes step out of our comfort zones and this brings me to the next couple of movies I want to talk about.

Backrooms (2026) and Obsession (2026)

I am the kind of person who has never enjoyed horror movies. There were a couple of times when I watched some titles that had interesting elements but I truly hate the feeling of being scared and jump scares, so I usually avoid this genre. But in the past year, a lot of titles that feel very intriguing are being released so I decided to give it another chance.

I had never heard of Kane Parsons before this year, but from the first trailer of Backrooms I was very intrigued by the concept. Watching it was not easy but it was also very manageable. I really liked the use of POV and the found-footage technique, the production design, from an artistic point of view, was truly impressive and I also really liked the sound design. I also found it very fascinating how it portrayed the depths and horrors of the human brain. It will definitely be in my favourites of the year. On the other hand, Obsession pushed my limits a bit too far. The idea was interesting but I found some elements too obvious and the disgusting/gore moments were too much for me. I also found the whole cat situation extremely triggering and disturbing so that also ruined how much I could appreciate it. I would have probably never got to the end of it if I watched it at home so I was very glad I got to watch it in a beautiful movie theater, the Zoo Palast in Berlin.

Toy Story

In June I also rewatched Toy Story 1 and 2 and watched for the first time the third movie. The second will always be my favourite, such a sweet and wonderful piece of art. The Star Wars references were the best part of it and re-watching it brought back so many nostalgic memories. When I was a child I remember being completely hypnotized by the scene where Woody gets polished and fixed. I had the feeling it was minutes long. While rewatching it I realized it was barely a minute long and that made me smile. It’s still the best moment in the whole movie. The third was also a very fun watch. I liked the plot and it truly felt like the perfect ending to the story. I cried all my tears at the end and I have to agree with those who say that maybe it wasn’t really necessary to continue making movies with these characters. Now after watching also the fourth I am ready to watch the latest release, hopefully I will manage in July.

Voicemails for Isabelle (2026) by Leah McKendrick

This, unfortunately for me, was quite disappointing. I really love Zoey Deutch and Nick Robinson but the whole movie was very poorly written. I didn’t particularly like any of the romantic moments and so many scenes felt like unnecessary disgusting elements. Even though it has a deeply sad element in the plot, I couldn’t feel a single emotion and it’s not going to be a romantic comedy that I’ll watch again. Set It Up (2018), which is simply perfect and always comforting, remains my favorite romantic comedy with Zoey Deutch.

Have you also seen some of these movies? What did you think of them? How was your June? I’m always looking forward to your comments.

Gift me a coffee

As usual, here are some trailers that caught my interest in the past weeks. First of all Leviticus, another horror that I’ll watch as soon as I can. I love the promotional posters that have been released and I am intrigued by the religious element in it.

Two of the movies that I’ve been following since Cannes have had the first trailers released: Bitter Christmas and Sheep in the Box. I am especially curious about Kore-eda’s new movie and hopefully it will come out soon in Germany.

This year at the Florence Korea Film Fest I watched The People Upstairs (2025) by Ha Jung-woo and it was one of the most exhilarating cinema experiences of my life. There were moments where the crowd laughed so much it was impossible to hear the sound coming from the screen. I then discovered it was originally a remake of a Spanish movie and I am quite curious to see all the adaptations. So when I saw that Olivia Wilde had also made her own version, called The Invite, I immediately added it to my watchlist. The reviews sound quite good so I am hopeful.

Can we all believe it’s actually already July? It feels quite insane. This month a lot of exciting movies are coming out (I already booked my tickets for The Odyssey and can’t wait) so hopefully the next monthly update will also be filled with good titles. What is the movie you’re most looking forward to? Do you have any special film plans for July?

Until next time,
yours,
Elisa

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How it started

My first memory of being shocked by a movie was with Titanic (1997). I don’t know exactly when I saw it for the first time but it was in Italy at my grandparents’ home. I was either 7 or 8 and it left such a deep impression on me that I filled an entire notebook of drawings inspired by the movie. To be more specific, I was quite traumatized and the drawings were reproductions of the ship sinking. I also completely fell in love with Leonardo DiCaprio and started collecting anything I could related to him. I remember having this biography by Jonathan Fly that came out in 1998. I was too young to actually read it but I loved admiring the photos inside. I lost my copy after moving several times but I recently managed to find a used one and I laughed so much at its contents. There is also a test to understand if you’re Leo’s ideal girlfriend.

Following this passion, a couple of years later I convinced my mother to bring me to the cinema to see The Beach (2000). That day is my first memory of seeing a movie in a theater and unfortunately it was not a very joyful one. I remember escaping from the room because I was too scared and hiding behind the curtains on the doors to wait for the scary part to be over. Even if it was a bit of a traumatic experience, movie theaters have become my favourite place in the world and whenever I enter one the rush of excitement it gives me has no equal.

Before Titanic and The Beach of course there were a lot of animated movies that filled my childhood. My personal favourites were Robin Hood (1973), Balto (1995), The Road to El Dorado (2000) and Spirit: Stallion of the Cimarron (2002), just to name a few. In the last couple of years I’ve been rewatching these movies from time to time and even now they are such beautiful works of art. The Road to El Dorado is to this day one of my all-time favourite movies. I can recite every line and sing all the songs of the Italian dubbed version and it’s something I could never get tired of, just writing this makes me want to watch it again. Animation has always been a big part of my life. In 2020 during the COVID lockdown I spent one month watching a Studio Ghibli movie every day, so that I could watch them all, and it was such a magical experience. It helped so much by distracting me from the chaos going on around me in the world.

Going back to my childhood, there was a specific moment that made me decide that I wanted my life to be full of cinema. With my family we used to rent movies to watch together and one day we rented Alexander (2004). It was probably the summer of 2005 and I was 13 years old. In that period I was obsessed with animals and photography. I loved watching documentaries about animals and I wanted to become a nature photographer. Watching Alexander I was very impressed by how grandiose it was. The war scenes, especially the one in the forest with the encounter of the horse and the elephant, amazed me so much that after finishing the movie I watched all the extra behind-the-scenes material. There was an interview with the director of photography and I specifically remember being so charmed by everything that he was saying that I had to rewind to see what his role was. That day I discovered the existence of this job and that there could be a photography-related craft also while making movies. From then on it was just an escalation of things. During high school my love just grew and grew and I also had fun making a short film for a project during the last year before graduating. When I had to decide what to study at university I chose to start a language program but after barely a month I discovered the course of Disciplines of Art, Music and Spectacle and immediately switched majors. So I dedicated my university years to movies and lived some of the most important experiences of my life. The main one being attending the Venice Film Festival. The first time I went was 2016 and until 2019 I was able to go every year. A lot of my happiest memories are from the days I spent at the Lido and it also allowed me to get to know something that changed my life forever: Korean cinema.

It was the 9th of September 2016 and among the movies that day I also watched The Net (2016) by Kim Ki-duk. Before then I was extremely ignorant about Asian cinema. If I think about it now, it actually makes me sad that in all the cinema courses I took in the two years before then I never heard an Asian movie mentioned, but that’s a conversation for another moment. I was instantly blown away. The movie itself is not even one of the best from Kim Ki-duk but it felt like such a refreshing and new experience. After it ended I felt like I wanted to, I needed to immediately know everything about the director, the actors, the country this movie came from, the language they spoke etc. So I started researching, I discovered Park Chan-wook and his movies, I was even more blown away. I went to attend his masterclass at the Florence Korean Film Fest where he also presented The Handmaiden (2016) and confirmed to myself that Korean cinema was where I wanted to put all my focus. Korean movies always challenge the way I see the world. They teach me something, make me feel alive, and perfectly balance tears and laughter like nothing else can.

How it’s going

In 2018 my family moved to Germany but after a year with them I decided I wanted to go back to Italy. I went to Turin and started university again, going back to languages, this time studying Japanese. The year I spent in Turin was one of the best of my life, mainly because I was surrounded by an extremely rich cinema culture. I went to see a movie almost every day, attended all the film festivals I could and regularly visited one of my favourite places on earth: the National Museum of Cinema at the Mole Antonelliana. I even started the process to become a guide there and after all the training I was about to start working when something quite unexpected happened: COVID. I was in a situation where to be able to attend university and live there I had to work because my family could not afford to support me. With the lockdown that was not possible and after a couple of months, when I saw that the situation was not going to end anytime soon, I left Turin with a piece of my heart still there and came to Germany. One of the things that made the move most difficult was the fact that here I live in a very very small village with no cinema in sight. If there was a cinema, they only showed dubbed movies, which I absolutely can’t watch. So for some years I watched movies from time to time but it felt like something fundamental was missing.

In 2023 I went again to the Florence Korea Film Fest and finally felt the missing piece again. That shared experience of watching a movie with a crowd, feeling the energies of so many strangers reaching the same wavelength. Turning to your side and seeing all those eyes in awe, with the images reflected in them. So from that point on I did everything I could to go to movie theaters again. I found a cinema an hour away from my village in Luxembourg that played movies in their original language with subtitles, I discovered the Korean Film Festival Frankfurt and started working for them. Also the cinema that is five minutes from my home started having more screenings in the original language and every time I see those simple two letters OV I am so happy.

I also wanted to mention ten all-time favourite movies but this article has already become quite long. I will do that in a separate article and then link it here once it’s written. (Heath Ledger in the cover picture is a tiny spoiler)

So this is my love story with cinema, at least what can be summarized in one article. I want my Substack to be like a place where what you read feels like a conversation with a friend. So before sharing more thoughts about movies, it felt right to let you know a little more about me. I easily cry, I easily fall in love, I love movies that break my heart just to put the pieces back together in a better way. Let’s share this passion together.

What is your experience of falling in love with cinema? Do you remember the first time you saw a movie in a theater? I love hearing these kinds of stories and would love to read yours.

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Thank you very much for reading,

Until next time,
yours,
Elisa

The only time I gave five stars this month was to Tangled (2010), a rewatch I did because I wanted to refresh my memory for the live-action. It’s such a delight, so fun and beautiful, with unforgettable characters like the horse and the little chameleon. I am very curious and afraid at the same time to see what they will do to transform it but I love the casting so it’s a good starting point.

Since this month I was still writing weekly updates and then decided to switch to monthly ones, I have already talked about most of the movies. For example if you want to read my thoughts on Michael (2026) or Remarkably Bright Creatures (2026) you can find them in the articles I linked on the titles.

Before I dive into the two movies I want to talk about in this article, an honorable mention to Swapped (2026) and Perfect Blue (1997). I don’t remember if I specifically mentioned it before but I truly love animated movies. Whenever I have a headache or I need to lighten my heart a bit, animation is always the refuge I run to. Swapped was surprisingly fun. It’s a newly released movie that I gave priority to because Michael B. Jordan voiced the main character and it was interesting to experience his acting in a different way. There is a plot twist that really caught me off guard even if it was quite predictable and I loved that I was so relaxed that I was able not to expect it and enjoy the surprise. Perfect Blue is a classic by Satoshi Kon that I had already seen but this time I had the pleasure of enjoying it on a big screen. It was even more disturbing than I remembered but still a writing and animation masterpiece.

The first movie I would like to focus on is The Mandalorian and Grogu (2026) by Jon Favreau. I never had time to watch all the Star Wars spin-off series but I have seen practically all the movies, I’m only missing Solo: A Star Wars Story (2018). So I just read a couple of plot summaries and articles about The Mandalorian and went to watch the movie. There are definitely some script problems and it does feel like part of a bigger picture. For example there is this feeling of the story starting mid-sentence and an open ending that could lead anywhere. But it does have its own arc and a conclusion of sorts so that wasn’t a big problem for me. I went in expecting very little because of all the negativity surrounding this movie and for me it was actually not as horrible as they say.

While listening to the podcast House of Cinema, Joe said that The Mandalorian and Grogu is so bad it doesn’t have any of the elements that make a movie a movie so it can’t even be considered as such. “There is no sense of stake. There is no sense of tension. It’s just missing the fundamentals of storytelling. This movie is kinda lacking what makes a movie a movie. And if you choose to ignore that you can have fun with it.”
I have to disagree with him. The plot was indeed very simple, but it’s not true that there was no sense of stakes. The challenges and the fights were there, and even if there is no risk of a character dying, being forced to make impossible choices, or going through drastic personality changes, why does everything have to cause extreme emotions? Nowadays we are almost obsessed with the idea that every movie has to be a masterpiece. Of course considering the legacy of the Star Wars cinemaverse, I understand having high expectations. But does everything really have to be perfect to be entertaining?
It feels like modern cinema has made us accustomed to constant adrenaline, continuous plot twists, fast editing and no time to breathe. We can’t enjoy a simple plot anymore. Like Claire said in Jurassic World (2015) that they needed a bigger, scarier dinosaur to entertain people because nobody is scared of a T-Rex anymore.

There are movies that I want to be challenging and moving, and there are movies that I simply want to spend a couple of hours with, enjoying another universe and forget my daily struggles turning off my brain. Star Wars, superhero movies, romantic comedies, are part of this second category and The Mandalorian and Grogu was exactly what I wanted it to be. Also I really liked the score by Ludwig Göransson, I could rewatch it just to be able to enjoy those sounds again, it was truly brilliant and gave extra value to the whole movie. Grogu and his friends are also very adorable and I know not every appearance of his pushes the story forward, but I’ll still enjoy every time he appears on screen. What do you think? Did you like this last Star Wars adventure?

The last movie I want to mention is the Korean thriller Unlocked (2023). It was much better than I was expecting. Yim Si-wan delivered a truly chilling performance and I loved how his cute face made his character even more unsettling. There were a couple of elements that made it a bit unbelievable, like what girl would go alone in a truly creepy and empty building? And why would anyone in their right state of mind give their phone’s password to someone that just has to change a screen? Apart from these small details I really liked following both the point of views of the bad character and the victim at the same time. The equilibrium between them was well structured and the plot twists were good even when predictable. It also made me reflect on how much of our lives is on our phones and it was quite scary to see how easily a life can be completely turned upside down just with a couple of actions.

Like with the weekly updates, here are the trailers that caught my interest the most this month. During Cannes many of the movies I heard about were already on my wish list, like Fatherland, whose trailer was just released a couple of days ago.

Among the titles that were new discoveries the one that intrigues me the most is La bola negra. Netflix has acquired the rights for the U.S. distribution and I will keep an eye out to see how it will be released in Germany.

To conclude, a new trailer for The End of Oak Street came out revealing the dinosaurs and it looks a bit more scary than what I usually enjoy but hopefully it will also be fun.

Any movies that have caught your attention this month? Did you watch some movies that you would recommend? I would love to hear your thoughts.

Until next week,
yours,
Elisa

Let’s start with the main plot. Ryu is an ice hockey player. He is staying in Berlin at the home of a childhood friend (Sumiko Shinonome, portrayed by Ai Hashimoto) because he had to take a break after a recent incident with a friend. On a sleepless morning he visits a church nearby and while he is there the place is set on fire by an angry teenager accused of being repulsive for being gay by his father. Thankfully, Johan happens to be there at that exact moment. He is a Korean boxer that has lived a very difficult life and is staying in Berlin for a match. Johan saves Ryu and then disappears from the hospital. But life finds another chance to connect them and after a couple of days spent together, they develop a very strong bond. The series follows more than ten years of their lives, full of challenges, happy and tragic moments that bring them closer and closer.

Considering the whole picture, it’s a love story. But not at all a traditional one. Together with their love, the story that develops around them also touches on a series of other topics that make it very rich. From friendship to motherhood, from human relationships and incredible resilience, it’s a subtle and genuine portrait of love and humanity in all its different forms.

One of the main elements that made me strongly appreciate Soul Mate is the way Ryu and Johan’s love is depicted. If you start it expecting a Heated Rivalry level of intimacy, you’ll be disappointed. Their love is never portrayed through physical actions. It’s all in the simple gestures, looks and conversations among one another.

All the subtle nuances of love are wonderfully portrayed by Hayato Isomura and Ok Taec-yeon. Both give performances that left me speechless throughout the episodes. Taec-yeon’s role was particularly difficult and his performance was truly impeccable. I keep thinking about it daily and just watching backstage clips makes me tear up again. Also on every technical aspect I can’t fault this series in any way. It’s beautifully written. I often found myself pausing and writing down some lines from their dialogues. It has gorgeous photography and a perfectly fitting soundtrack. Since the story spans through so many years and different countries (Germany, Korea, Japan), the production work it required must have been very challenging. It makes me admire the end result even more and it’s one of those pieces of art that makes me deeply thankful to all the people who created it.

Now I would like to dive deeper into the plot so if you haven’t watched it you can save the article and come back to it later if you don’t want spoilers yet.

*SPOILERS*

In this part of the article I would like to share some thoughts on the elements of the story that left an impression on me starting from the quote related to each of them.

“Getting lost is a good thing.”

The incident I mentioned in the plot summary is related to one of Ryu’s teammates with whom he had a very close friendship (Arata Oikawa, interpreted by Koshi Mizukami). After confessing his feelings for him and being outed by another teammate he attempted suicide by jumping off a building. This leaves Ryu profoundly shocked and he finds himself in a state where his whole life is turned upside down. He feels lost and doesn’t know what to do anymore. Johan’s words are the turning point that help him understand that even when lost, a new direction is always waiting. And there is no need to rush to find a solution, because when any sort of trauma is involved, each healing process requires its own pace. Seeing Arata survive and getting a second chance, together with the conversation that Ryu and him have outside the hospital, felt very comforting. It also gave an additional sense of hope and warmth to the story.

“When you feel lonely, try looking at the scenery somewhere. It doesn’t matter where. The scenery mirrors your heart. If you look at it for a while and think, “It’s pretty,” or “It brings back memories,” that’s because you saw that scenery with someone you treasured. And you can find that treasured person in any scenery.”

These are words Ryu’s uncle says to him. It’s a very beautiful picture about the way some people can find their place inside each other’s souls and whatever happens they will always be there. The series reflects a lot on loneliness and deep human relationships and I found this quote the most meaningful.

“The fact that it’s a unique family situation doesn’t mean it’s a bad one.”

After Sumiko goes back to Tokyo, she meets Ryu’s friend Seiichi Aizawa (Yutaro Furutachi) and they fall in love. This plotline develops into Sumiko getting pregnant and Seiichi losing his life because of a car accident. After little Kanau is born, Ryu and Johan decide to help and they all go live together. This was a very interesting and refreshing development. The quote is said by a school teacher about their family situation. I loved this free approach and how it’s portrayed with very positive reactions from the people they encounter.

“Such sad sounds. (The sound of the waves hitting the sand.) So many things just pass you by. But you know? There are also many things that never change.”

Change can bring positive developments in one’s life but sometimes it is also comforting for some things to stay the same. This quote is a line from a grandmother Ryu brings to the beach to see the sea. After renouncing his ice hockey career he becomes a caregiver and even if the scenes where we see him interact with elderly characters are only a few, they are touching. And they give a nuance to his character that makes it even deeper and more interesting.

“His feelings get hurt easily. And he thinks of himself as a weak person. But being able to feel hurt is an incredible thing. People who give up and drift through life… don’t feel pain anymore. They’re afraid of getting hurt… so they run away. But you still let yourself get hurt. And you haven’t given up on getting involved with people. You’re strong. You’re a really strong person.”

This final quote perfectly expresses why I loved Ryu’s character very much. As Johan says, even in the moments of weakness he never gives up on the people he loves. His reliability and his dedication never change and he loves in such a deep way that is truly heartwarming. Throughout my life, I often found myself thinking “why am I feeling these emotions in such a strong way” and there were many moments where I wished I could avoid getting hurt. After a couple of months where I was again struggling mentally and feeling quite down, these words gave me a wave of strength that I really needed. They reminded me how important it is to actually be able to feel and that it’s not necessarily a negative thing.

*END OF SPOILERS*

Pain can be a precious occasion to grow and find yourself again, and this series gave me the chance to rethink and consider many of the things that were hurting. It also made me think a lot about one of my favourite books, A Little Life by Hanya Yanagihara. Both experiences were extremely cathartic and gave me renewed strength exactly when I needed it the most.

Have you watched Soul Mate? I would also love to hear your thoughts. If you’ve read until here thank you very much.

Until next time,
yours,
Elisa

A beautiful backstage video.

What I listened while writing:

So for now this is the last weekly update. Then at the end of the month I’ll write the first monthly one with a full recap of how May went. In the past week I’ve watched two movies, and then my attention was captured by the limited series Soul Mate. I know this blog’s main focus is movies, but I consume every form of entertainment, and from time to time I also want to write some extra articles about other things I watch or read. A review of Soul Mate will be the first to come out because it has given me a lot to think about.

Kate & Leopold (2001) and Watching the Detectives (2007) are the two movies I’ve watched this week. I don’t really have much to say about either of them. Kate & Leopold was a rewatch. While talking about time travel with two dear friends, this movie came to mind and I decided to refresh my memory of it. It’s a fun rom-com with Hugh Jackman and Meg Ryan. Hugh Jackman in this movie is truly charming and fits the role so perfectly that it’s a joy to watch. It’s probably one of my favorite roles of his and a perfect movie to relax and turn off the brain a bit. I have to say, I remember having more fun watching it when I was younger. Now there were a couple of moments where I felt like pausing and going on my phone for a bit, which is never a good sign. But there are still some fun moments. It would probably be the perfect movie to watch on a long flight.

Watching the Detectives (2007) was a first-time watch. For some reason I was completely unaware of the existence of this movie until a couple of weeks ago. Then suddenly a couple of the girls interested in movies whom I follow on Instagram started sharing clips of it, and I was immediately very intrigued. So I watched it but unfortunately found it very ineffective and boring. The concept of a nerdy cinephile who owns a video rental store and a crazy girlfriend who keeps pulling pranks on him to make their relationship exciting sounded fun, but it was generally pretty bad. Things were too weird and the chaos quickly became exhausting instead of charming. I understand why it went directly to home video without having a theatrical release. A nice nostalgic throwback, but not something I’m going to revisit.

Time for the trailers. First of all, after its premiere in Cannes on Sunday evening, we have the first trailer for Na Hong-jin’s Hope (2026). It looks quite insane, and all the comments posted so far have made me even more curious. I really hope I’ll be able to watch this in cinemas.
Next is a movie I found during one of my Letterboxd rabbit holes. Sometimes after watching a movie, I log it, and then I get lost in other users’ reviews and like to explore their profiles. I don’t remember when or how, but I found the trailer for the movie Hen (2025). It looks quite fun. I don’t know if I’ll ever be able to see it, but I’ll keep an eye out for it.
Next is Tony (2026), a biopic about Anthony Bourdain. Anything that has to do with kitchens and chefs interests me, and this looks quite promising.
Last but not least, Renoir (2025), a Japanese movie that looks heartbreaking and heartwarming at the same time. I’ve recently rediscovered how much I love Japanese cinema and how it’s exactly the kind of entertainment I crave and need in this moment of my life. So I am keeping an eye out for interesting movies, and I’m trying to watch more.

Another thing I’ve been reflecting upon: my watchlist. It’s almost fascinating how hard I really try to watch the movies I write on it, but I am such a mood-watcher that it’s practically impossible to follow it. Every week I start out very enthusiastic about it and then change my mind ten times along the way. All the movies I’ve mentioned in past articles are still movies I really want to see, but I’m going to try a definitively spontaneous approach and stop sharing watchlists. If you have any thoughts or comments, I always really appreciate them and love reading them.

Until next time,
yours,
Elisa

Non è un paese per single (2026) by Laura Chiossone

One of my most cherished guilty pleasures has always been romantic comedies and probably always will be. If a new one comes out, I’m immediately ready to watch it. Non è un paese per single (No Place to Be Single in English) was released on Amazon Prime Video, and it tells the story of Elisa and Michele, childhood friends who meet again when Michele’s great-uncle dies and he inherits the land Elisa lives on and takes care of in Tuscany.

The first thing that made me smile is that my name is Elisa, and my first childhood crush from elementary school was called Michele. So even just their names brought back a couple of sweet memories. Overall, the movie is quite bad. Technically speaking, maybe the cinematography can be saved in a couple of moments, but the script is rather weak and unremarkable and, apart from a few scenes, the acting is not very good either. But in cases like this, I don’t really consider any of those elements. When I watch a romantic comedy, especially an Italian one, I just want to have fun, completely empty my brain, soothe the nostalgia I constantly feel for Italy, and treat my eyes to a nice view (which Cristiano Caccamo does very well). So in all these ways, the movie worked perfectly for me.

Remarkably Bright Creatures (2026) by Olivia Newman

Last year I bought the book, and it has been sitting in my “to be read soon” pile for quite a while. I still haven’t managed to get to it, but I didn’t want to wait to watch the movie because I was very intrigued by the story. The plot follows Marcellus, an old octopus living in a small aquarium who also serves as the narrator; Tova, an elderly woman who cleans the aquarium every day and carries the pain of losing both her son and her husband; and Cameron, who arrives in town searching for his father.

I didn’t have particularly high expectations, but I really enjoyed it. Every technical aspect is well done. It’s very clean, with no extravagant direction or flashy editing, but when the focus is the emotional softness of the story, those things are not always necessary. It’s written in a very compelling and heartfelt way. Maybe the characters could have had a bit more depth and nuance, but even in their simplicity they are all charming. I loved Marcellus the most. I’ve always had a soft spot for stories involving animals, and in this case I also appreciated the gentle way the film portrays the difficulties animals in captivity, such as in zoos and aquariums, go through. I cried so much by the end that my eyes actually hurt. I knew it would be moving, but I didn’t expect it to affect me so deeply. It was a very healing movie, and I’m grateful for the sense of comfort it gave me.

In this article I would like to share the trailers for two movies that came to mind while watching the films I just talked about.

The first is the trailer for You, Me & Tuscany (2026), since it is also a romantic comedy set in Tuscany and it’s on my watchlist for this year. I’m eagerly waiting for its release in Europe because I can’t wait to see Regé-Jean Page on screen again after loving him in Bridgerton.

The second is connected to the other film that made me cry because of an octopus: the documentary My Octopus Teacher (2020). It won the Oscar for Best Documentary in 2021, and I still remember it fondly. If you haven’t seen it yet, I really recommend it.

Once again, I haven’t touched my watchlist. Since the beginning of April, I’ve also been collaborating with the team selecting films for the Frankfurt Korean Film Festival, so every week I have to watch one or two movies for that, and the rest of the time just flies by. But sooner or later, I’ll get there.

• Tampopo (1985)

• La chimera (2023)

• My Blueberry Nights (2007)

• The Mastermind (2025)

• Sentimental Value (2025)

• Save the Green Planet! (2003)

• Seobok (2021)

• Sound of Metal (2019)

• About Time (2013)

• Even If This Love Disappears From the World Tonight (2025)

What have you been watching lately? What was the last movie that made you cry? Let me know in the comments!

Until next time,
yours,
Elisa

Competition

Amarga Navidad by Pedro Almodóvar
Almodóvar has always been a director that intrigues me, but for some reason I have only seen one of his movies so far, Pain and Glory (2019). This new title, according to the plot, tells the story of an advertising director who has just lost her mother, alternated with the story of a screenwriter and a director. It explores how life and fiction are linked, sometimes in a confusing and painful way.

All Of A Sudden by Hamaguchi Ryusuke
Drive My Car (2021) is one of my all-time favourite Japanese movies, so whatever Hamaguchi Ryusuke makes, I am adding it to my watchlist. I still have to watch his previous works, but I’ve only heard positive things about them so my interest is quite high. In this movie the story is set in Paris, the protagonists are a French director of a nursing home and a terminally ill Japanese playwright, and it reflects on life, death and humanity.

Coward by Lukas Dhont
Here I enter completely new territory. I haven’t seen any of Lukas Dhont’s movies, but I’ve often heard about him. The movie is set during the First World War and it tells the story of soldiers trying to lift their spirits while coping with the difficulties of war. It has a beautiful poster so I got curious.

Fatherland by Paweł Pawlikowski
Many elements of this movie have piqued my interest. It’s set in 1949 and it shows Thomas Mann and his daughter Erika going on a road trip across Germany. From Frankfurt to Weimar it portrays the conditions of this country after the war and I am very curious to see especially the part in Frankfurt, since it’s a city so close to me that I visit often. And Sandra Hüller plays Erika, so what more do we need?

Sheep In The Box by Kore-eda Hirokazu
How many movies does Kore-eda have coming up? I am eagerly awaiting the adaptation of Look Back and I was surprised to see another title appearing in the competition. Set in the future, it tells the story of a married couple that decides to adopt a humanoid robot as their son. Humanity and robots is a theme that always interests me, so I’ll be looking forward to this title.

Hope by Na Hong-jin
When Na Hong-jin mentioned this movie during his masterclass last year at the Florence Korea Film Fest, I immediately added it to my watchlist. I’ve seen all of his previous works and they all surprised me in different ways for their brutality, sharp depictions of humans and meticulous production. The cast (Hwang Jung-min, Zo In-sung, Michael Fassbender, Alicia Vikander, etc.) and the fact that it’s the production with the biggest budget in Korea’s history make it a must-watch.

Fjord by Cristian Mungiu
In this case the main thing that piqued my interest is Sebastian Stan’s transformation in the first promotional images that have been released. I am also intrigued by the combination of Norwegian and Romanian cultures and the setting in Norway, a country that I still don’t know well but I’m curious to see through movies. The plot describes it as a drama where the protagonists are suspected of hurting their children, so it sounds like it will also touch on delicate themes.

Moulin by László Nemes
The two movies I’ve seen by László Nemes (Son of Saul (2015) and Sunset (2018)) have both been incredible cinematic experiences. So if I were at a festival with one of his movies, I wouldn’t miss it. Here the story is set during World War II and the protagonist is a man who unifies the networks of the French Resistance. Sounds like a setting that he could portray in a very compelling way. I’ll look forward to the reviews.

Paper Tiger by James Gray
James Gray is a director for whom I don’t feel strong emotions. I’ve liked the movies I’ve seen, but never deeply loved them. Still, if a movie has Adam Driver, Scarlett Johansson, Miles Teller and more in the cast, I am going to watch it. I would say it is the title on this list that interests me the least, but it still sounds promising.

The Man I Love by Ira Sachs
I didn’t like Passages (2023), but Rami Malek has been an actor that I deeply like since Mr. Robot (2015–2019) and I am curious to see him play a very dramatic and challenging role. The story is set in late 1980s New York and he plays a theater artist who has AIDS and takes on a very big role that could be his last.

Un Certain Regard

Teenage Sex And Death At Camp Miasma by Jane Schoenbrun
This doesn’t sound at all like something that is usually up my alley, “[...] a blood-soaked world of desire, fear and delirium.” But horror has been catching my attention more and more and it’s much easier for me to watch this genre in a cinema full of people. And it has Gillian Anderson in the cast, so I would try to give it a chance.

All the Lovers in the Night by Sode Yukiko
Mieko Kawakami is one of my favourite Japanese writers, but All The Lovers in the Night is the only one of her books that I tried to start twice and was never able to finish. A movie adaptation sounds like something easier to deal with, so I would try watching it to see if the whole story compels me to finally pick up the book again and finish it.

Other Sections

Her Private Hell by Nicolas Winding Refn (Out Of Competition)
Refn is one of the only directors whose bloody scenes I’m willing to watch, so if he releases a movie, I’m there. And, if you can allow me to be a bit superficial, it has Charles Melton in the cast so… I have to see it.

Full Phil by Quentin Dupieux (Midnight Screenings)
This sounds like a fun movie and it could lighten the mood a bit in a list that has quite a lot of challenging (in a positive way) stories. Woody Harrelson and Kristen Stewart play a father and daughter who are trying to reconnect during a trip to Paris. But “French cuisine, a 1950s horror film and an intrusive hotel employee” disrupt their journey. What will happen?

Colony by Yeon Sang-ho (Midnight Screenings)
Yeon Sang-ho goes back to his dear love, zombies. I really wonder why he went back to them once again and what else he can surprise us with. Train to Busan (2016) is the only zombie movie that I could rewatch anytime. I truly consider it perfect, especially considering zombies have always been my least favorite horror trope. Also, this movie has one of my favourite Korean actors, Koo Kyo-hwan, and I’m willing to challenge myself with any amount of horror for him.

Quinzaine Des Cinéastes

Butterfly Jam by Kantemir Balagov
I really liked Balagov’s movie Beanpole (2019) when I watched it at the Torino Film Festival. I am also intrigued by the fact that this is his first movie in English and it has Riley Keough, Barry Keoghan and Monica Bellucci in the cast. It explores a culture, Circassian, that I’ve never encountered in cinema before and even if it sounds quite violent, I would give it a try.

Dora by July Jung
July Jung is a very acclaimed director in Korea and even if, sadly, I haven’t been able to watch any of her previous works yet, they are all on my watchlist. Dora sounds like something that could stir things up quite a bit in Korea, so I am very curious. Here is the plot from Letterboxd: “Dora, a young girl with physical and mental illness, finds healing through love, overcoming love and hate, revealing moments of fascination.” The protagonists are played by Kim Do-yeon and Sakura Ando.

Well, what an amazing list. Even if I can’t physically go to Cannes, writing this article has made me quite excited for all these movies that will fill our screens in the future. What is the one that intrigues you the most? Did I miss some that you’re looking forward to?

The Letterboxd list with all the titles so you can easily add it to your watch lists.

The video I was listening to while writing this article.

An interesting article on Letterboxd if you want to read more about some of these movies.

Until next time,
yours,
Elisa

5 Centimeters per Second (2025) by Yoshiyuki Okuyama

This movie is the live-action adaptation of the homonymous animated feature by Makoto Shinkai that came out in 2007. Beautiful and deeply touching, it tells the story of Takaki and Akari. They meet in elementary school, but after a couple of years, when their friendship deepens into a sweet young love, they’re forced to separate due to their parents’ constant moving. In the present they both live lives that are apparently distant but graze each other in many moments. It’s a story about the simple human connections we make when we’re young, and how they can leave a deep impression in both a positive and negative way. On one side, they can teach us who we are and help us understand ourselves better. On the other hand, they can tie us to the past until that thread becomes a knot that is incredibly hard to break free from. Told with a soft and incredibly beautiful photography (I could have taken a screenshot of literally every frame), it also has great performances by all the actors who play the characters, young and adult, and a beautiful soundtrack. If you like a good nostalgic, romantic movie, this would be a perfect one to watch.

Suzuki=Bakudan (2025) by Akira Nagai

On a completely different note, Suzuki=Bakudan is a very dark and gruesome thriller. A couple of young and inexperienced police officers arrest a drunk old man because he breaks a vending machine and causes a scene at a konbini. While he is being interrogated about why he attacked the shop cashier, he claims that his sixth sense tells him a bomb is about to explode. The inspectors first laugh at him, but the bomb actually explodes and the situation becomes very serious. From there, the movie develops into a very well-written and compelling thriller. It doesn’t leave the viewer with a second to breathe, and the developments are quite intriguing and not obvious or boring. For my taste, some of the gore elements were unnecessary, but I know Japanese cinema and I wasn’t surprised by all the blood and severed limbs. The thing that surprised me the most was the acting. Jiro Sato’s performance, who plays the evil character Suzuki, was really impressive. There were quite a few moments where I was left speechless by his abilities, truly nerve-wracking.

The Devil Wears Prada 2 (2026) by David Frankel

My most recent memory of rewatching The Devil Wears Prada (2006) is from when I was on my flight back to Europe from Seoul. It was the second movie of the flight and even if I was a bit sleepy, I remember having a lot of fun and truly enjoying it. Before watching this (unnecessary?) sequel I was very hopeful. I also read a lot of positive reviews, so I went into the cinema in a good mood. I can’t say that I felt the same afterwards. Yes, all the cast is absolutely wonderful and they wore their characters’ clothes perfectly. It was nice to see some new faces (any time Simone Ashley appeared on screen my brain went “Kate! Bridgerton!”), and the outfits were beautiful. But I was bored from beginning to end. It just didn’t get to me. The theme of journalism and its decay and struggles in the modern world is definitely very important, but I didn’t find its portrayal particularly effective. Maybe watching it on another day, on another occasion, I’ll feel different emotions, but this time it wasn’t for me.

Michael (2026) by Antoine Fuqua

I’ve never deepened my knowledge of Michael Jackson, but I’ve always been fascinated by his story. And I love the music biopic genre, so I was very curious to see this one. I was also intrigued by the fact that its score on Rotten Tomatoes has such a huge gap between critics and audiences. First of all, the movie has many problems on a technical level. The editing feels like it’s running an F1 competition and the timeline progresses so quickly it’s impossible to let anything sink in. The CGI (which I strongly hope is not AI) is quite poorly done with the animals and concert crowds. The writing could have been better and deeper, but it felt a bit superficial and thrown together without too much care. All of this taken into consideration, it still hits the heart. Michael Jackson’s artistic talent was something unique and the songs he released are undoubtedly masterpieces. In this sense, they did a great job in recreating the performances. I was also particularly impressed by the actors and their performances. Both Juliano Krue Valdi and Jaafar Jackson, who play young and adult Michael, are impeccable. Especially Jaafar gave an Oscar-worthy performance. The amount of preparation and practice that went into the role can be felt in every song, and his strong connection to Michael undoubtedly helped in recreating all the little nuances of his persona. So not technically a great movie, but still very entertaining and perfect to watch in a cinema. The bigger the screen, the louder the volume, the better.

For this week’s trailers I would like to share with you two that caught my attention. I know everyone is probably talking about the trailer for Nolan’s The Odyssey (2026), but there are also other interesting titles coming soon. The first is Finding Emily (2026), a British rom-com directed by Alicia MacDonald that looks very fun and sweet.

The second is the horror Obsession (2025) by Curry Barker. I’m still taking very small steps with this genre because I become terrified so easily that it’s embarrassing, but for some reason I am intrigued, so maybe I’ll try. (Once it comes out on streaming platforms, in the morning with lots of light and hugging my security hippo plushie.)

This week I will finally go back to my watchlist. I have a couple of titles that I am again excited about.

• Tampopo (1985)

• La chimera (2023)

• My Blueberry Nights (2007)

• The Mastermind (2025)

• Sentimental Value (2025)

• Save the Green Planet! (2003)

• Seobok (2021)

• Sound of Metal (2019)

• About Time (2013)

• Even If This Love Disappears From the World Tonight (2025)

Have you seen any of these movies? I’d love to hear your thoughts. Thank you very much for reading. 💖

Until next week,
yours,
Elisa

Among the movies I’ve watched, there are two I would like to talk about: Number One (2025) and The World of Love (2025).

Number One (2025) by Kim Tae-yong

First of all, just a couple of words on the plot: Hae-min (interpreted by Choi Woo-shik, one of my favorite Korean actors), after losing his older brother because of an accident, starts seeing a number appear every time he eats something cooked by his mom. This number decreases by one with every meal. His father, who passed away the day he was born, appears in a dream and tells him that when the number reaches zero his mother will die. So, of course, he stops eating her food, to the point where he moves to a different city and almost never visits her. The movie follows Hae-min as he tries to live his love life with the girlfriend he wants to marry and deals with the baggage he carries on his shoulders. This surreal element is the thread that keeps the plot together and carries it from beginning to end.

The writing isn’t particularly original. There are several plot elements and choices that feel forced, like the sentence that appears on the screen before the end credits. But all in all, I think it’s a movie worth watching for different reasons. The cast is full of great actors who deliver touching performances. From a technical point of view, it has beautiful photography and the editing is well done. It’s also a movie that expresses very well the Korean culture that revolves around food and the relationship with one’s parents. The core message is that we should learn to appreciate our parents and the people in our lives who take care of us, never taking this love for granted. It’s a movie that makes you think and leaves you with a strong desire to hug and say thank you to those who are precious to you, which is never a bad thing.

The World of Love (2025) by Yoon Ga-eun

The World of Love is the third movie by Yoon Ga-eun that I’ve watched. I’ve loved the two before, and this one also lives up to expectations. After two movies in which her protagonists were younger girls, Yoon Ga-eun here shifts to a high school setting. The protagonist is Joo-in, a seventeen-year-old girl who is experiencing her first love encounters and has to deal with a complicated situation at home.

In this case, I don’t want to say too much about the plot because there are a couple of elements that I think would be better not to know before watching, in order to fully enjoy the movie. The only important element to know is that the main subject is sexual violence. It’s really well written, with great performances by every single actor, and also visually interesting from a technical point of view. I specifically liked the fact that there are a lot of frames where the camera is positioned very high and far from its subjects. This distance doesn’t remove the viewer from what is happening in the scene; on the contrary, it actually deepens the sense of immersion. With all the main protagonists being teenagers, the editing also includes quite a bit of footage that is filmed on phones in a very non-professional way. I also really liked this choice to increase the immersion and the sense of closeness to the characters.

It’s a movie that deals with a very heavy topic in a delicate way. It doesn’t have anything too explicit or visually challenging, and a lot of things are not directly said, being left to the viewer to fill in with its imagination. I found this even more impactful. It’s the kind of movie that I would show in every school, and I hope it will receive more distribution in Europe.

Both movies will be available to watch in Italy until the 2nd of May on MyMovies because they are part of the Far East Film Festival’s program.

This week I don’t have any specific trailer I would like to share with you, but I have something even more fun. Early last week I found out about a new Korean movie that will be released this year. The English title is Wild Sing and it’s directed by Son Jae-gon. So far, we only know who are the main actors (Gang Dong-won, Um Tae-goo, and Park Ji-hyun) and a very short plot that I copied from Letterboxd: “the story of a popular three-member mixed group called ‘Triangle’ being forgotten by the public due to an unfortunate event, but then reuniting again in a difficult situation.” A full trailer hasn’t been released, but instead Lotte Entertainment uploaded a music video by the fictional group Triangle on its YouTube channel. It’s quite hilarious, and I find it a very fresh way to promote a movie.

Sadly no updates on my watch list, and this week I already know that I have too many other things to watch so I’ll come back to it next time.

Until next week,
yours,
Elisa

From time to time I rewatch Disney classics; it always heals my soul and brings back so many sweet memories. I didn’t have the chance to watch this one, though, in the past years and I am glad I did now. There is such delicate softness to it. I don’t want to sound too nostalgic because I still love animated movies produced nowadays, but older films have a kind of simple gentleness that has been lost along the way and that always makes me a bit sad.

Anyway, while watching Bridgerton I’ve also been catching up with the second season of Bloodhounds, which is so poorly written it’s genuinely frustrating.
So there hasn’t been a lot of time for movies and there is only one I would like to talk to you about.

About Time (2013) by Richard Curtis

I keep asking myself why it took me so long to watch this movie. There are certain titles that I keep hearing about from time to time but that I still haven’t gotten around to, and About Time has been one of them for the longest time. Throughout the years, while reading online comments about it, I created a certain picture in my mind. I was sure that when people said they cried all their tears it would have been because of a particular turning point. I wanted to somehow avoid it because as much as I love crying while watching movies, if I know for sure that something will bring tears, I have to find the right moment for it. Funny how, in this case, I was very wrong and what actually happened broke me and made me cry even more than what I thought was going to happen.

Richard Curtis, also known for Love Actually (2003), really has a special touch when it comes to celebrating life and love. I also loved his movie The Boat That Rocked (2009). In the specific case of About Time, the element of magical realism is that the protagonist can travel back in time to any moment of his life he wishes to relive or change. While watching the first part, I found his constant going back and redoing things, even if it was just a bad joke, a bit too romantic and surreal. Life just doesn’t work that way, going back is not the solution. I kept thinking that he should actually just accept life day by day, with all the mistakes and the pain. But also with all the beauty and wonder in it. So when, by the end of it, he says exactly these words and proves what I was thinking, I started crying even more.

Domhnall Gleeson and Rachel McAdams truly shine in their roles and deliver touching performances. Also, all the rest of the cast is great, and it was funny to see that Margot Robbie appears here as well, I had no idea. I loved the soundtrack, each song felt like it was pulling me back in time, and I loved the way it was directed. That sequence in the subway with the evolution of their love story is one of the most beautiful cinematic moments I’ve ever seen.

As they say, better late than never, and now I can also say that About Time has a place in my heart. It’s now among those movies that have completely lifted my spirit and reminded me how precious life can be.

Since there is no other movie I would like to write about, I thought this week I could mention three trailers that have caught my attention.

The first one is The Sheep Detectives (2026) by Kyle Balda. At the beginning I was a bit disturbed by the CGI sheep, but the moment I realised Bryan Cranston was giving his voice to one of them, I was sold. It was also extremely hilarious, so I will give it a chance.

The second is Backrooms (2026) by Kane Parsons. I was completely unaware of the existence of this “backrooms world” on the internet before A24 started the promotion for this movie. I am slowly getting used to the horror genre; it’s still not something I would normally watch. But if something has a very intriguing plot I am willing to sacrifice my nerves for a couple of hours, and this will be one of the titles I want to watch this year.

The third and final one is Mother Mary (2026) by David Lowery. I’ve liked two of his previous movies, A Ghost Story (2017) and The Green Knight (2021), and I’m very curious to see what he did here. Visually it looks very promising.

My updated watchlist:

1. Tampopo (1985)

2. La chimera (2023)

3. My Blueberry Nights (2007)

4. The Mastermind (2025)

5. Sentimental Value (2025)

6. Save the Green Planet! (2003)

7. Seobok (2021)

8. Sound of Metal (2019)

9. About Time (2013)

10. Even If This Love Disappears From the World Tonight (2025)

Slow progress is better then no progress right? 😂

Thank you very much for reading, until next week,

yours,

Elisa

A Big Bold Beautiful Journey (2025) by Kogonada

While deciding what to watch, I was thinking that I wanted something with a romantic tone, with a fresh feeling, and that wouldn’t completely break my heart. When I saw this on Netflix, it felt like the right pick. I had previously seen Columbus (2017) by Kogonada back in 2018 and even if I don’t remember particularly liking it, it left an impression on me for its beautiful photography, and I made a mental note to keep an eye on this director. I still haven’t seen his second feature, After Yang (2021), but I am glad I managed to watch A Big Bold Beautiful Journey.

The protagonists, David and Sarah, are interpreted by Colin Farrell and Margot Robbie, and they’re two actors about whom I have the same feelings. Neither of them shines for their acting abilities, but they have a very distinct charisma that allows them to fit very well in front of the camera, regardless of the role. So together they make a very good couple. The plot of the movie is centered around two people going on a road trip where they revisit moments from the past to heal and become able to fall in love again. It’s full of magical realism, gorgeous photography, a very nice soundtrack, and touching moments. The only thing that didn’t convince me were the dialogues, where often the lines felt like sentences directly out of a book of quotes on life. There was a line from Sarah’s mother that really touched me, though: “You are capable of being content in this life. You just have to choose it.”

I wouldn’t say it’s a new favourite, but it was exactly what I needed when I clicked play.

The Virgin Suicides (1999) by Sofia Coppola

It always feels surreal that this is a debut feature film. It’s visually stunning; every frame could be captured and hung on a wall. The casting was perfect, every role performed brilliantly. A classic that, even if it’s more than 25 years old, feels like it was made yesterday, and I perfectly understand why people mention it constantly nowadays.

My only problem is something very personal. During the last couple of years I’ve become very sensitive to the theme of suicide and self-harm. I have the feeling that sometimes entertainment has a slight tendency to romanticize these actions, and this movie is the perfect example. The way it’s narrated by the boys, who were obsessed with these girls, and the fascination in their voices when they tell their story… there was something unsettling in it. Whether intentional or not, it creates a romanticized atmosphere around death, and while the end credits were passing by I kept thinking about this topic. What are your thoughts on this?

Robot Dreams (2023) by Pablo Berger

As someone who deeply loves animation, this movie has been on my watchlist since it came out, and I’m very glad I was finally able to watch it. I loved every second of it. First of all, I really enjoyed the fact that even if it has no dialogue, it is realised in such a compelling way that it never feels like they’re missing. The drawing style is very simple and stylized, but it still perfectly transmits all the emotions of the characters. It makes the viewer immediately care for them, and it’s deeply touching. A story of loneliness and friendship, perfect to watch at any age. I will keep recommending it for a long time.

Exit 8 (2025) by Genki Kawamura

This movie is the adaptation of The Exit 8, a 2023 indie game developed and published by Kotake Create. I am really not someone who deals well with horror movies, but I was still very curious about the concept: a man trapped in a subway corridor who can only escape if he notices the anomalies in the environment around him. So I convinced my brother to watch it with me for emotional support, and I am glad I did. We both had a lot of fun.

Thankfully there aren’t many jump scares. The first time I had actual chills run from head to toe was because of a jump scare while watching another Japanese movie, so I went in even more cautious than usual. Even if the concept sounds repetitive, it was well structured and not at all boring. It’s not a perfect movie; I have a lot of questions about the ending, which of course I will not talk about here to avoid spoilers. But if you are a fan of video games and horror movies, I would still recommend it.

This week I want to mention two trailers. The first one is for Hamlet (2025), a new modern adaptation of Shakespeare’s classic by Aneil Karia with Riz Ahmed as the protagonist. Since Baz Luhrmann’s Romeo + Juliet (1996), I’ve always found this kind of reinterpretation very interesting, and I’m looking forward to seeing this one.

The second is for California Schemin’ (2025), not a subject I would immediately run to watch, but it’s the first movie directed by James McAvoy. He has had a special place in my heart since Becoming Jane (2007), and I am curious to see his first effort as a director.

I haven’t even remotely touched my watchlist from last week, but I am more hopeful for this week, so I’ll write it down again with a couple of new additions.

• Tampopo (1985)

• La chimera (2023)

• My Blueberry Nights (2007)

• The Mastermind (2025)

• Sentimental Value (2025)

• Save the Green Planet! (2003)

• Seobok (2021)

• Sound of Metal (2019)

• About Time (2013)

• Even If This Love Disappears From the World Tonight (2025)

Thank you very much for reading, until next week,
yours,
Elisa

Gli occhi degli altri (2026) by Andrea De Sica

I met Andrea De Sica during my university days while I was working as a volunteer for the Detour Film Festival in Padua, and I remember having a good time both with him as a person and with his first movie, I figli della notte (Children of the Night, 2016). So when I saw that he directed a movie with two great Italian actors, Filippo Timi and Jasmine Trinca, I immediately got curious. I will be brief. It is simply extremely bad in every possible way. The plot is horrible and useless, on a technical level there is nothing of note, and the acting is good because they are talented actors, but I will question myself forever on why they accepted such miserable roles. If I could delete a movie from my memory like extra photos on my phone, I would have deleted this the moment the screening ended.

Once We Were Us (2025) by Kim Do-young

The moment I saw Koo Kyo-hwan for the first time in the movie Maggie (2018), I immediately thought, “I have to keep an eye on this actor.” Afterwards, I saw him in D.P. (2021-2023), and since then, role after role, he’s been confirming how talented he is and has become one of the Korean actors I admire the most. I’ve always been curious about the idea of seeing him in a romantic role, and when I saw the announcement of this movie, I couldn’t wait a second to watch it. Next to him as the female lead there is Mun Ka-young, who was a pleasant surprise since it was my first time seeing her act. She is more well known for her dramas like True Beauty (2020), The Interest of Love (2022), and the more recent Law and The City (2025), but I still haven’t caught up on any of these.

The protagonists are Eun-ho and Jeong-won, a man and a woman who, by chance, meet in Vietnam and, with this encounter, start remembering their past love story. The director is Kim Do-young, previously known also for Kim Ji-young, Born 1982 (2019), and she once again managed to portray a very touching story that will stay with the audience for a long time. I’ve always struggled with the alternate timelines kind of narrative because sometimes the jumps between different times can be done in a random and confusing way that makes me lose immersion in the story. On the contrary, here the rhythm always holds up, never feels random or forced, and I loved the way they played with colours. Usually the past is black and white and the present is in colour, right? Here it’s exactly the opposite, and it’s amazing how such a simple technical detail can convey so much of the meaning and emotions behind the story. Painfully realistic, deeply human, it’s the kind of story that breaks all the pieces of your heart and, by the end, puts them all back together in a way that feels even better than before.

Ghost Elephants (2025) by Werner Herzog

Werner Herzog has always been one of the directors who fascinates me the most. He has a striking talent for portraying the magnificence of nature right next to the smallness and horrors of humans. Once again, with this documentary, he tells the story of a man obsessed with an animal, in this case, Steve Boyes and his search to see the biggest elephants in the world. Together with beautiful shots, like one of an elephant seen through an underwater camera, he also has the ability to conduct interviews with his subject in a way that brings out the most interesting thoughts behind their journey. Boyes’ whole life is devoted to seeing the ghost elephants that live in the highlands of Angola, trying to discover if they truly exist. At one point he wonders out loud if it wouldn’t be better if he never found them, because the search and the doubt are what keep him going. This left me with a lot of interesting questions about the goals that I am trying to reach in my life.

As someone who deeply loves any kind of animal, this documentary was at the same time fascinating and painful. Seeing all the results of game hunting breaks my heart, but also seeing that there are humans who are truly fighting against it, trying to protect nature, left me with a sense of hope. Which is extremely needed in this historical moment we are living in, so I was thankful to Herzog for showing both aspects of reality.

Among the trailers I’ve seen in the past weeks, the one that has intrigued me the most is for the movie Two Seasons, Two Strangers (2025) by Sho Miyake. The cinematography looks extremely beautiful, and it sounds like a touching story. It has been screened at many international film festivals, and I hope that maybe MUBI will release it in Europe.

Now that I’m back from Italy, the next chapter of spring starts, and I’ve been brainstorming ideas for what I could write alongside the weekly updates. If there is something that you would like to see me talk about, let me know. In the meantime, here are some titles I’d like to see next:

• Tampopo (1985)

• La chimera (2023)

• My Blueberry Nights (2007)

• The Mastermind (2025)

• Sentimental Value (2025)

• Save the Green Planet! (2003)

• Bugonia (2025)

• About Time (2013)

• Even If This Love Disappears From the World Tonight (2025)

Don’t hesitate to tell me in the comments if you’ve seen any of the movies I talked about and to share your thoughts. Also, movie recommendations are always welcome!!

Until next week,
yours,
Elisa

One of the things I love the most in life is going to film festivals. My first time at the Florence Korea Film Fest was in 2017, a memorable experience because they had Park Chan-wook as a guest, and I still clearly remember how mesmerized I was during his masterclass. After that, I also went in 2019, watched the online editions during the COVID pandemic, and I’ve attended in person every year since 2023.

It’s always a wonderful opportunity to spend some time in Italy and immerse myself in the world of Korean cinema. As you probably know, excluding Netflix (which helps but has an extremely limited catalogue of movies and focuses mainly on dramas) and other platforms like MUBI that only have a few titles, the distribution of Korean movies is extremely limited in Europe. So festivals help a lot and are events I can’t miss.

Together with a wide selection of contemporary features, every edition of the Florence Korea Film Fest invites an actor and a director and pays homage to them with a retrospective. The protagonists of this year were Gong Yoo and Yeon Sang-ho.

Opening and Closing Movies

The opening movie was People and Meat (2025) by Yang Jong-hyun, about three elderly people who become friends and decide to start eating meat in restaurants and then leave without paying because they can’t afford it. Loneliness and poverty among the older generation are very touching subjects, especially in Korea. The film portrays them in a soft way that leaves you with a lot to think about.

The three main leads, played by Jang Yong, Park Keun-hyong, and Ye Su-jeong, do an excellent job, but on a technical level there were many choices, especially in the editing, that I found very questionable and really didn’t like.

The closing screening was Homeward Bound (2025) by Kim Dae-hwan. The subject is a family and all its untold secrets. From the trailer, it looked like a promising movie, but while watching it I couldn’t feel any emotions. It deals with many topics: secrets, love between two women, illness, loss, and more; but it doesn’t manage to explore any of them in a functional and deep way. Since there are too many topics, everything becomes superficial, not very original, and not impactful.

Contemporary Cinema Selection (K-Cinema Today and Orizzonti Coreani)

These two sections are curated by Veronica Croce and Caterina Liverani and feature a selection of movies ranging from popular big productions to independent contemporary titles. On my Letterboxd you can find a list of all the movies I’ve watched, ranked, but here I’ll talk about the four titles that had the strongest impact on me.

The People Upstairs (2025) by Ha Jung-woo

Ha Jung-woo has always been one of the Korean actors who leaves me completely speechless with his acting abilities. I’ve seen him in many movies, but this was my first time watching something he also directed.

It was such a brilliant and entertaining cinematic experience. There were moments when the audience was laughing so much that it completely covered the sound coming from the screen. Four characters, two couples, and a dinner. A very simple setting that reminded me of movies like Carnage (2011) and Perfetti Sconosciuti (2016), where cinema meets theatre and everything rests on the actors’ shoulders.

Ha Jung-woo, Gong Hyo-jin, Lee Hanee, and Kim Dong-wook delivered impeccable performances, portraying every shade of their characters perfectly. A movie I will keep thinking about, and I can’t wait to rewatch.

Frosted Window (2025) by Kim Jong-kwan

This is the kind of movie that warms my heart. Three stories, apparently disconnected, but all set in the Seochon neighborhood of Seoul. An artist looking for love, two friends where one wants more despite already having a girlfriend, and an actress at a critical point in her career searching for her identity.

Across summer, autumn, and winter, the scenes flow with simple and effective dialogue, soft editing, beautiful cinematography, and a soundtrack that is perfectly in harmony with the images on screen. There is also a very good balance between the “lightness” of the first two segments and the deeper themes and techniques of the third. They are different, yet fit perfectly together.

It also made me miss Korea a lot. I hope I’ll be able to walk through the streets of Seochon again soon.

The Journey to Gyeongju (2026) by Kim Mi-jo

With this movie, Kim Mi-jo takes a very common theme in Korean cinema, vengeance, and portrays it in a new and refreshing way. A family (a mother and three daughters) sets out on a journey to kill the person responsible for the death of their youngest daughter/sister.

The script is brilliant. It perfectly mixes hilarious comedic moments with scenes that deal with grief and the complexity of relationships, leaving you with teary eyes. The cast (Lee Jung-eun, Gong Hyo-jin, Park So-dam, Lee Yeon, and Byun Yo-han) is outstanding. The chemistry created by so much talent on screen is simply incredible.

From a technical point of view, there are also moments with very interesting framing that make the film even more enjoyable. Just a small note: there were a couple of plot points that felt unresolved, and when I asked the director about them, she told me that the version we saw is not the final one. Before its release in Korea this summer, there will be changes to the soundtrack and additional scenes in the edit, so I’m looking forward to seeing the final version.

Sumbisori (2025) by Lee Eun-jung

Set in Jeju, the film portrays haenyeo across three generations of women: a grandmother, her daughter, and her granddaughter. Hae-jin is 29, and after failing to build a life in Seoul, she decides to return home and become a haenyeo.

The only thing I didn’t like, from a technical point of view, was a couple of moments with questionable color correction. But that didn’t matter much, because the main focus is the characters, and they are portrayed in a very deep and touching way, like a true comfort for the soul.

Yeon Sang-ho

I have a complicated “relationship” with Yeon Sang-ho. Among his works, there are movies that I think are truly perfect and others that are some of the most horrible and disturbing things I’ve ever seen.

Starting with the latter, I really can’t seem to connect with his animated works. A few years ago I watched Seoul Station (2016), as it is considered the prequel to Train to Busan and I am very interested in animation. But I remember disliking every second of it, from the story to the animation style, which is really not for me.

During the festival, I also watched The King of Pigs (2011), as I know it’s one of his most renowned works. If I had to make a list of the most disturbing movies I’ve ever seen, this would rank very high. Once again, I just don’t like this animation style, and the content of the story was so disturbing that it took a lot of energy for me to stay until the end.

On the other hand, as someone who generally dislikes zombie movies, I find Train to Busan (2016) to be a truly perfect film. I’ve watched it three times, and each time my enjoyment grows. It’s perfectly directed, the script feels flawless, and the acting? Brilliant, brilliant, brilliant. I can’t find anything wrong with it.

I also rewatched The Ugly (2025) during the festival, and seeing it on the big screen confirmed my thoughts. It’s a very well-made movie, with a captivating story, no dull moments, and great performances. Park Jeong-min, in particular, shines in his dual roles. I really hope he gets more opportunities to portray such complex characters and showcase his talent.

Gong Yoo

About this man, I could write a whole article, and that’s exactly what I will do. My interest in him and his career has grown considerably after this experience, and I want to explore his work more deeply. In the coming weeks, I will start a new format on my Substack called Actors Portraits, and he will be the first actor I focus on.

I could write a whole dissertation about this edition of the Florence Korean Film Fest. It was full of very interesting films that left me with a lot to process. But I’ve probably already written too much, so for now I’ll stop here.

If some of these movies come back into my life, I’ll talk about them again then. If you’ve read this far, thank you so much for your time.

Until next week,
yours,
Elisa

A small housekeeping note: next week I will not publish the weekly update on Monday because on Tuesday I’m going back to Germany. Instead, during the week I will publish a full recap of my Florence Korea Film Fest 2026 experience.

Nouvelle Vague (2025) by Richard Linklater

Once again, Linklater didn’t disappoint. Nouvelle Vague shows a very young Jean-Luc Godard and his journey toward making À bout de souffle (1960). Movies about making movies are always a pleasure for me—they just fill me with even more love for this art and its world. And this movie did exactly that.

It’s very charming and fun to watch, perfectly cast (all the actors are spot on for the roles they play), and well executed. It made me want to rewatch all the Nouvelle Vague films that I studied at university and deepen my knowledge of this period in film history.

A little special mention goes to the theatre where I watched it. It’s called Cinema Troisi, and the screening I attended happens every Tuesday morning. It’s designed for moms who can attend with their newborn babies: they leave the lights slightly on and keep the sound at a lower volume. Such a lovely initiative.

The Testament of Ann Lee (2025) by Mona Fastvold

This movie is about Ann Lee, a woman who lived from 1736 to 1784 and was the founding leader of the Shaker movement, proclaimed by her followers as the female incarnation of Christ. The main peculiarity of this cult was their prayer practices—a mix of singing, dancing, and shaking their bodies in group rituals—as well as their belief in total chastity.

I found the choice of making a movie about such a controversial historical figure very interesting. Directed in a very captivating way, it shows faith in all its aspects, from obsession to deep humanity.

My favourite aspect was the musical element. There are many moments of singing and beautifully choreographed dancing that are visually stunning and wonderful to watch on a big screen. They are so well integrated into the story and the rhythm of the movie that it never feels like you’re watching a musical.

The only thing that left me a bit confused was the ending, which felt too abrupt and didn’t give enough time to fully absorb and process what happens in the final moments of her life.

Hoppers (2026) by Daniel Chong

Since it came out, I had only read very positive reviews about Pixar’s latest film. So going into the screening, I probably had expectations that were too high. It’s a very sweet movie, and as an animal lover the theme felt very close to my heart. I strongly agree with the idea of showing children that nature is something we should take care of and preserve.

That said, beyond agreeing with its message, I didn’t fully love the movie. It’s very well animated, but I found the antagonist and the plot development too ridiculous and childish. Of course, the target audience is younger viewers, but a more well-constructed character would have made a stronger impact.

The Bride! (2026) by Maggie Gyllenhaal

I’ve watched—and loved—many movies with Maggie Gyllenhaal as an actress, but I still haven’t seen The Lost Daughter (2021), so this was my first time “meeting” her as a director. It’s definitely a very peculiar movie, not an easy watch for everyone.

Personally, I found it very fun and refreshing, but maybe a bit too chaotic. On one hand, I liked the sense of freedom it conveys—the nonchalance in following all the technical choices and plot directions she wanted to explore. On the other hand, I didn’t fully understand or appreciate the need to establish the film’s identity through violence and gore. It’s a monster story, but wouldn’t it have been even more original without the horror? Or at least without heads being smashed on sidewalks?

While I’m writing these words, I’m fully immersed in Korean cinema, enjoying my days in Florence. I can’t wait to share everything with you once I’m back home.

Until next week,

yours,

Elisa

Zootopia 2 (2025) by Jared Bush, Byron Howard

I have a very fond memory of the first Zootopia, so I was looking forward to its sequel. I wasn’t able to go see it at the cinema, so I watched it as soon as they officially released it online. I can’t say that I didn’t have fun, but it was definitely less entertaining than the first one. Even the introduction of new characters didn’t help make it feel more interesting.

I loved the cinematic references, like the snake Gary flicking his tongue into the enemy’s ear, which immediately reminded me of Sir Hiss in Robin Hood (1973), and Pawbert running in the snowy labyrinth, which was a very clear reference to The Shining (1980). But apart from these little details, the pattern of the plot felt way too similar to the first movie, and it was too simple.

One Battle After Another (2025) by Paul Thomas Anderson

First of all, I recognize that it’s technically a great movie. Paul Thomas Anderson is a true master of his craft, and I’ve always been in awe of his ability to shape the movies he makes into masterpieces. Also in this case, the direction, editing—everything—is spot on for the story he decided to portray.

The only thing I struggled with on the technical side is the soundtrack. I found it way too overpowering and dominant, but not in a way that worked to accompany what was happening in the story. Challengers (2024) comes to mind as an example of the opposite. There too the soundtrack is completely overwhelming, but it never felt out of place or distracting in any way.

I also have to recognize the great acting performances. Leonardo DiCaprio, Sean Penn, Chase Infiniti, Teyana Taylor—everyone did an impeccable job. But this is not the kind of cinema I need or want to see at this moment in my life. A constant suffocating anxiety and sense of dread, physical discomfort, and even more repulsion for humanity than I already have… is not what I want to watch.

I had the same problem with Marty Supreme (2025). Even if in this case I could understand some of the messages—fighting the rules of society and starting a revolution because it is necessary to change how things are—I was just disturbed from beginning to end.

Project Hail Mary (2026) by Phil Lord and Christopher Miller

I didn’t pay too much attention to the first news about this movie because sci-fi is not a genre that I usually enjoy very much. But when I saw that Ryan Gosling was going to play the protagonist, I immediately changed my mind. I even decided to read the book first, and I am glad I gave it a try because it is truly a great book.

I finished it exactly two hours before driving to the cinema to watch the movie. I have to admit, I don’t know if this was the best course of action. Having the book so clearly in my head really softened all the emotions, since I already knew very well what was going to happen in the story.

There are some changes that I didn’t like, but generally it’s a great adaptation. Ryan Gosling is superb—nobody could have been a more perfect Ryland Grace. I loved how funny they made Rocky. He’s funny in the book as well, but in the movie, together with Ryan’s comic abilities, I had to wipe away tears of laughter more than once.

It’s visually stunning. The space design they created is so beautiful that it deserves to be seen on the biggest screen possible, and we may already have a contender for the 2027 Oscar for visual effects. The editing and the script in some parts felt a bit too rushed, and there were details about the story that I really wish they hadn’t cut from the book.

All in all, it’s a perfectly entertaining cinematic experience—one of those movies that we’ll keep watching for a long time and that works perfectly for any generation.

A little special mention to the short they released for Evangelion’s 30th anniversary. Asuka has always been my least favourite character, but it felt nice to be back with this story in a fun way, even if just for 15 minutes. Truly one of humanity’s masterpieces.

I decided that if there is one, I’m going to share a trailer of the week. Sometimes I fall into trailer rabbit holes on YouTube and find movies I didn’t know about but that look very interesting. The first example is Mile End Kicks. As someone who has spent her whole life in love with musicians, if there is a movie about a girl falling in love with a musician, I have to see it. Let’s see when and how it will make its way to Europe.

The only movie I managed to watch from my watchlist was One Battle After Another, and this week I’m going to be in Florence for the Florence Korean Film Fest. So for a couple of weeks I’ll leave the watchlist at home and just immerse myself in Korean cinema.

Until next week,
yours,
Elisa

I like every kind of entertainment: reading books, watching dramas, listening to music, watching movies… each one touches a part of my soul in a special way. But cinema has always been the love of my life. In the past weeks I’ve often been thinking about how I can share more of this love online. I thought maybe I could start another Instagram profile just to talk about movies, but somehow it didn’t feel right.

Then suddenly today I remembered Substack, and that feeling of “Yes! That’s perfect!” came. So here we are. I will share weekly updates about the movies I watch and, from time to time, special themed articles about a specific topic or about the film festivals I attend.

Let’s start with the two movies I watched in the past week. I usually watch a couple more, but I made the “mistake” of starting Bridgerton for the first time and I couldn’t think about anything else the whole week, so I ended up watching “only” First Man (2018) and Pretty Crazy (2025).

First Man (2018) by Damien Chazelle

This coming Saturday I’m going to watch Project Hail Mary, and while thinking about this last week I realized that there is another movie with Ryan Gosling going to space that I still hadn’t seen. I was at the Venice Film Festival the year it premiered and was supposed to watch it there. But on the day of the screening, the movie I watched before made me cry all my tears and left me so devastated that I just spent the two hours when I was supposed to watch First Man sitting at the bar and staring into the void, trying to recompose myself.

So here we are, just a couple of years later, I finally watched it—and I really liked it. I loved the direction, photography, and editing. It has a very slow, deep rhythm that feels reflective, never in a boring way. Ryan Gosling’s performance is particularly impressive. His character barely says maybe twenty lines during the whole movie; he expresses everything through his eyes and body language in a very subtle but effective way.

I am glad that I finally watched this so that now I have seen all of Chazelle’s movies. And I’m also glad that somehow it made me feel love for Chazelle again after I really, really disliked Babylon. (How did Babylon come out four years ago???) Anyway, I’m still looking forward to any of his upcoming projects, hoping he comes back with something better next time.

Pretty Crazy (2025) by Lee Sang-geun

When I saw the trailer for this movie, my brain immediately thought: “Wow, whoever thought of putting Yoona and Ahn Bo-hyun together in a romance movie really did well.” And after watching it I can confirm that they make a wonderful pair. I actually hope they will also do a drama together in the future.

I only watched the trailer once because I usually try to spoil as little as possible about a movie if I am 100% sure I will watch it. So with only that brief impression, I was expecting a very light and silly romantic comedy. But as usual Koreans always find a way to surprise me and hit me with emotions.

I will not say anything about the ending, of course—just that I found myself with three tissues full of tears. Maybe the upcoming period helped, but it was definitely much more emotional than I expected.

It’s not perfect. The writing goes a bit up and down and sometimes feels slightly unstable, but it’s one of those movies that fits a moment when you want something light but heartwarming at the same time. Ahn Bo-hyun is adorable—I constantly wanted to just hug him—and Yoona… I really like her, but I was never fully convinced by her acting abilities. She’s good, but not exceptional. Here she has a more difficult role than usual, having to play two very different personalities, and she did well, but not in a particularly impressive way. Still, I’m very happy I watched it, and it was exactly what I needed this weekend.

For this week, that’s it. Have you seen these two movies? What were your thoughts about them?

I have a watchlist with the movies I want to watch as soon as possible, and I thought I could also share this in my weekly updates so that you can have an idea of the movies I’m going to talk about. As I am a very strong mood reader, I’m also a mood watcher (this expression probably doesn’t exist), so the plans always change—but I like having a general idea.

• Love Me If You Dare

• Romeo + Juliet

• Dracula (2025)

• Nosferatu (2024)

• The Mastermind

• Sentimental Value

• One Battle After Another

• Train Dreams

• Save the Green Planet!

• Bugonia

• About Time

• Even If This Love Disappears Tonight

Until next week,
yours,
Elisa