Heute im Kino Intimes

Like a rose blooming amid a minefield, it’s a miracle that Jacques Audiard’s 'Emilia Pérez' exists: a south-of-the-border pop opera about a most unlikely metamorphosis and the personal redemption it awakens in a stone-cold criminal.

Ridley Scott sequel is epic old-fashioned movie-making with a star turn from Paul Mescal: While some of the plot points may leave a queasy feeling in the pit of your stomach given their modern parallels, one truth rises above the rest: With a movie this meticulously made, there's no way to not be entertained.

Ridley Scott is one of cinema’s modern marvels with his extraordinary run of high-energy pictures in the last few years delivered at a terrific storytelling gallop: the Rashomon nightmare The Last Duel, the true-crime melodrama House of Gucci and the excellent and underestimated Napoleon bio-epic. As for Gladiator II, he’s galloping back over old ground, galloping in a circle perhaps. But there is something awe-inspiring in seeing Paul Mescal’s triumphal march into the A-list.

Denzel Washington dominates this thrilling sequel: Washington deliciously steals every scene in this rousing heir to the Oscar-winning classic, with director Ridley Scott doing some of the best work of his storied career... Scott may never stop making movies, and on the basis of Gladiator II, that’s a very good thing.

Anora is a glorious strip-club fairytale with a generous spirit: There are few filmmakers as open-hearted, as stone-soup inventive, as Baker is. In movies like Tangerine and The Florida Project, he’s always shown a knack for doing a lot with a little. But with Anora, so playful yet so emotionally fine-grained, he maybe does the most. It's his best movie yet.

Mikey Madison gives a career-making performance: This is a story of wealth, and power, and what love can and can’t overcome. But it’s also about something far more heart-rending: what it means to be accustomed to being looked at one way, and then experiencing, out of the blue, what it feels like to actually be seen.

Vermutlich kaum einem Filmemacher im deutschsprachigen Raum gelingt es dermaßen perfekt, tiefgreifendes, erschütterndes Drama und tragische Schönheit so sehr in einem Film zu vereinen wie Andreas Dresen.

A mad musical, court procedurial, fantasy-filled vision that is DEFINITELY not canon: It’s a writer/director realizing a vision with something sincere and clever, which you can accept or reject. Superhero fans will get their fix soon enough. But this is not that.

As sweet and beguiling a musical romance as it’s possible to have between two murderous psychopaths. Its kooky approach won’t suit all stripes of comic-book fan, but it finds a strange, tragic hopefulness all of its own.

Lady Gaga shines in a provocative prison musical: Phillips and Silver have delivered the last thing anyone expected: a socially responsible Joker movie that finds an intriguing way to explore the consequences (both on and offscreen) of the first film.