‘Unclenching the Fists’ Review: An Intense, Immersive Coming-of-Age Tale from the North Caucasus

Naman Ramachandran Abacus Media Rights has sold documentary “The Beatles and India” to HBO Max for Latin America, BritBox North America for the U.S.

It says the show falsely suggested that the former female world champion never played competitive chess with men, and states that Gaprindashvili, now 80, competed against dozens of top male players, beating 28 of them.The suit focuses on a specific scene in the season finale where a commentator name-checks Gaprindashvili while narrating a match between protagonist Beth Harmon and fictional Russian Grandmaster Viktor Laev at the Moscow Invitational tournament.“Elizabeth Harmon’s not at all an

Comfortable in his newly found friendship, Hatzín (Hatzín Navarrete), a teenager from Mexico City who traveled to Chihuahua’s northern state to reclaim his father’s remains, pretends to be upset and explains he’s decided to return home. He laughs several seconds later, tricking Mario (Hernán Mendoza), his boss and impromptu life mentor.

Richard Kuipers Firm messages about female liberty and self-determination are delivered with a gentle touch in “Yuni,” a compassionate and engaging coming-of-age tale about a 16-year-old schoolgirl who doesn’t know exactly what she wants to do with her life but does know that she’s not ready to follow tradition and become a teenage bride.

To open: Ada (Milana Aguzarova), a young woman living in North Ossetia, is planted against the cement wall by the freeway. As the tumult of cars rushes by, a young man — the seemingly lovesick Tamik (Arsen Khetagurov) — calls for her.

“Bodies are heavier after death, my pop told me.” So says a child at the beginning of Mama I’m Home, setting the scene for Vladimir Bitokov’s compelling second feature which premiered in the Horizons section of the Venice Film Festival.

The attires worn by the young men that conform the USSR’s National Security Service (NKVD) in the extraordinary Russian thriller “Captain Volkonogov Escaped,” from directors Natasha Merkulova and Aleksey Chupov, don’t abide by historical accuracy. And that’s a positive.

Full recovery. Gleb Savchenko contracted the Delta variant of the coronavirus earlier this year before receiving his vaccine.

An executioner has 24 hours to atone for his sins in Captain Volkonogov Escaped, an inventive and disturbing Venice Film Festival competition entry from Russian writer-directors Natasha Merkulova and Aleksey Chupov. This married couple finished their screenplay in lockdown, and the result is both nightmarish and dreamlike.

health deteriorates. Meanwhile, Corey’s estranged father, Leonard, moves in with them to help care for Gloria.Corey and Leonard’s relationship quickly grows tense as it becomes clear to Corey that Leonard is not a good man and may even be dangerous.

Directors mining their lives for a story is nothing new, but it’s always exciting to see that premise connect with viewers beyond its maker. Such were the audience reactions to Kenneth Branagh’s stirring revisit to the Belfast of his childhood: there were sobs, gasps, and so much laughter.

The problem with making a successful documentary – commercial success, critical raves, Academy Award – is eventually, you have to make another one. Elizabeth Chai Vasarhelyi and Jimmy Chin’s “Free Solo” is one of the great non-fiction films of recent years, a nail-biting extreme sports chronicle with an intimate personality profile nestled firmly inside, Russian doll-style.

You could say writer/director/actor Kenneth Branagh has a facility easing between high and low art.

“I don’t like reality anymore. Reality is lousy,” teenager Fabietto Schisa (Filippo Scotti) says mournfully at a crucial, spiritually lonely moment in Paolo Sorrentino’s evocative new coming of age story, “The Hand Of God.” Sitting on a mountain, looking to the sky, the heavens, for answers, Fabietto should know.

Owen Gleiberman Chief Film CriticFabietto (Filippo Scotti), the autobiographical hero of Paolo Sorrentino’s “The Hand of God,” is a teenager growing up in the 1980s in the bustling port metropolis of Naples, and he keeps a watchful gaze on just about everything. He’s like the eye at the center of a storm of avidly impassioned but overstated filmmaking.

In movies as disparate and vividly imagined as Il Divo, Loro, the Oscar winning The Great Beauty, as well as English language efforts like This Must Be The Place, Youth, and his TV miniseries The Young Pope and The New Pope  Paolo Sorrentino has always seemed to be a director with a large brush and even more of a Fellini influence in some cases.

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