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B akerman is an award-winning Danish film that has surprisingly not been picked up for screening by international festivals beyond western Europe and the American east coast. Few critics seem to have either seen the film or discussed it. Yet it is better than some of the films that do get screened at film festivals around the globe and get discussed.   It won the Best Foreign Film award at the Maryland International Film Festival and Best Actor award at New York’s Nordic International Film Festival, both in USA. Director David Noel Bourke’s original script of Bakerman is quite engaging because it captures several feelings any economically fragile Dane would face in recent times.   Bourke presents a variant of the very subjects that the Belgian director brothers Dardenne or even the French director Stéphane Brizé usually work on. Bourke’s script injects a sinister psychological perspective to what the Dardenne brothers or Brizé would perhaps have preferred to skip while mould...

P aolo Sorrentino is definitely a talented director.  His films considerably rely on visual statements.  Sorrentino’s This Must Be the Place indirectly urges the film’s viewer to observe the details of visual statements, which often put in context the quaint sense of humor of the spoken word in the film.  That does not mean the viewer should miss the quirky spoken words either, such as the deadpan non sequitur " Why is Lady Gaga?"  The most important lines, stated nonchalantly, come mid-way into the film and those lines are the key to understanding it: “ You have to choose a moment in your life to be not afraid. ” “ And have you chosen that moment ?” “ Yes, I have .” Those critical lines explain the entire film for those who might find the film exasperating to understand, beyond the obvious strands of the film being a cocktail of a road movie, a detective movie and a Nazi-criminal-hunt movie.  It also a vengeance movie but one that presents the antith...