Movie for the evening/Movie archive ― page 7
"Red Rooms" (2024), 18+ November 10, 2025  Red light. Cold screen. Silence that makes your ears ring. So begins "Red Rooms"—Pascal Planchon's icy psychological thriller, where the internet becomes a mirror of human darkness and obsession evolves into a new form of faith. |
"A Complete Unknown" (2024), 17+ November 8, 2025  He walks on stage wearing sunglasses, holding a guitar, his face devoid of fear or confidence—only mystery. The audience buzzes with anticipation, thousands of eyes. And when he strikes the first chord, it seems as if the air itself freezes. So begins "A Complete Unknown"—a biographical drama about a young Bob Dylan, the man who turned words into weapons and folk music into revolution. Here we see no icon, no legend, no prophet. Here we see a guy from Minnesota—shy, stubborn, forever searching. He arrives in New York, where the smoke from the clubs mingles with the chill of the streets, where poets recite to the rhythm of coffee spoons, where music sounds like confession. There, among those like him, he finds his voice—not perfect, but real. Dylan writes songs that no one understands right away. |
"We Grown Now" (2024), 10+ November 7, 2025  Childhood is when the world is huge, and your apartment is the entire universe. When you believe you can run to the end of the yard and find adventure there, not fear. So begins "We Grown Now"—a tender, quiet, almost poetic story about two boys growing up in the Chicago ghetto, where light and darkness live side by side. Malik and Eric are best friends. They are twelve years old. They live in Park Homes, a giant apartment complex where the concrete smells of sweat and hope. Their days are spent running up and down stairs, playing catch between buildings, and dreaming of a future where they don't have to hide from sirens. |
"Kneecap" (2024), 18+ November 5, 2025  Bales, bass, and frantic energy. The camera shakes with sound—the audience explodes, three guys on stage rapping in Gaelic, a language many thought dead. But in their rhymes, it's more alive than ever. Thus begins "Kneecap"—a wild, smart, hooligan film about freedom, language, and protest, shot as if the film itself is high, but knows what it's doing every second. Belfast. Young, angry, hungry. Three friends—Moe Chille, Liadhan, and Niall—live in a world where British rule dictates the rules and Gaelic culture seems a relic of the past. But they refuse to remain silent. Their weapon is rap. Their manifesto is music, in which anger and humor, swearing and poetry resonate in a language that reeks of history and pain. They rap about the streets, politics, drugs, lies, and hope. First, in basements. Then, at rallies. |
"Daddio" (2024), 18+ November 4, 2025  They're driving through New York City at night. The taxi cuts through the city, where streetlights reflect on the wet pavement, and a conversation between two strangers turns into a confession. So begins "Daddio"—a chamber drama where the entire film is one ride, one window, two people, and the endless space between them. She's a young woman who's just arrived in New York. She gets into a taxi at the airport, tired, silent, holding a phone. He's an elderly driver with graying temples and a gruff but warm manner. At first, it seems like a normal ride: a little politeness, a little silence. But the road is long. And the silence begins to speak. |
"His Three Daughters" (2024), 18+ November 3, 2025  Three women enter an apartment that smells of medicine, dust, and time. Three sisters—as different as the three elements: one cold, the second harsh, the third soft but tired. And somewhere in the next room lies their father, breathing heavily, his eyes barely open. So begins "His Three Daughters"—Azazel Jacobs's poignant drama, in which a home becomes a mirror reflecting everything that has festered between loved ones for years: love, pain, unspoken words. Katie, Rachel, and Kristen haven't seen each other for a long time. Now they're forced to spend several days together, awaiting an end that can't be stopped. |
"Hundreds of Beavers" (2024), 12+ November 2, 2025  At first, it seems like a joke—a black-and-white madness that feels like it was filmed a hundred years ago. But after a few minutes, you realize: "Hundreds of Beavers" is more than just a parody, it's a true cinematic chaos, where gags, absurdity, and genius intertwine into one madcap maelstrom. Somewhere in the snowy expanses of North America lives Gene, an apple brandy merchant, cheerful, slightly drunk, and completely irresponsible. One day, his world collapses: the factory explodes, the goods disappear, and the hero finds himself alone in an icy wasteland. All he has is his fur and an axe. And around him are hundreds of beavers. Literally. A veritable furry army, ready to defend their supplies and territory. |
"Evil Does Not Exist" (2024), 18+ November 1, 2025  Winter. A quiet mountain village, snow-covered trees, the air painfully clear. A man walks along a path with his daughter, carrying a gas can, listening to the snow crunch underfoot. Everything seems peaceful, but behind this silence hides a menacing anxiety. So begins "Evil Does Not Exist"—a philosophical drama by Ryusuke Hamaguchi in which evil is not embodied in people, but dissolves into nature, time, and indifference. The protagonist is Takashi, a quiet forester who lives with his young daughter, Hana, in a tiny Japanese village. Their life is measured: chopping firewood, collecting water from a mountain spring, gazing at the stars. |
"Tótem" (2024), 0+ October 31, 2025  The house is filled with voices, the smell of food, and laughter. Sunbeams glide across the walls, where children's drawings and old photographs hang. But beneath all this joy lies an anxiety no one names out loud. So begins "Tótem"—a Mexican drama by Lily Avilés, a film in which life and death live under the same roof, not arguing, but simply coexisting. The main character is seven-year-old Sol. Her father, an artist, is ill. Very ill. Today, the house is preparing for a holiday—an evening where friends and relatives will gather to celebrate his birthday. Sol thinks it's an ordinary celebration, but the adults know it's a farewell. |
"Sing Sing" (2023), 18+ October 30, 2025  Iron bars, cold concrete, footsteps echoing through empty corridors. The camera pans across the prison yard, where prisoners play basketball, shout, laugh, and dream of a freedom that doesn't exist. Thus begins "Sing Sing"—a dramatic film about people who found themselves behind bars but never lost their humanity. The protagonist is Marcus Wayne, a musician whose life is ruined by a mistake, for which he pays with ten years in one of the most notorious prisons in the United States. He comes up with the idea of creating a musical group among the prisoners. For him, this is not only a way to survive, but also a chance to regain his voice, which was almost lost in the dungeon. |
"Flow" (2024), 0+ October 29, 2025  The city is dead. Houses stand in the water, streets have turned into rivers, and bridges lead to nowhere. Of all living things, only animals remain—and among them, a cat who doesn't understand why the world has become quieter. Thus begins "Flow"—a stunning, silent animation about survival, loneliness, and the power of instinct, which turns nature into philosophy. A cat wakes up on the roof of a flooded house. All around is water, debris, and wind. He is hungry, scared, but there is something within him that never dies—curiosity. He jumps onto an old boat and begins his journey. Without words, without a map, without a destination. Only movement. Flow. |
"Juror #2" (2024), 18+ October 28, 2025  The trial. Twelve people in a room smelling of coffee and anxiety. In the dock is a man accused of murder. Everything seems ordinary: interrogations, jurors, lawyers, a fair game of justice. But suddenly, one of them looks up and realizes—he's judging someone for a crime he may have committed himself. So begins "Juror #2," Clint Eastwood's new thriller, a story about guilt, truth, and the price of human conscience. Justin Kemp is a quiet family man, a driver, a flawless juror. Until the moment of recognition arrives: the location of the accident, the description of the car, details that match down to the last detail. |
Conclave (2024) October 27, 2025  The Vatican. Sunlight streams through the stained-glass windows, and the corridors are filled with a ringing silence. The Pope is dead. The cardinals gather behind closed doors—118 men in red cassocks. The world awaits a new pontiff. But no one knows that among them lies a man whose secret could upend the entire Church. So begins "Conclave"—a tense, intellectual thriller based on Robert Harris's novel, where faith and power collide in a deadly contest with no room for error. The protagonist, Cardinal Lawrence, is a modest, intelligent, and almost invisible man. He must organize the conclave—the process of choosing a new Pope. Everything is by the book: doors are locked, phones are handed over, no one can leave until the white smoke is heard. |
"Anora" (2024), 18+ October 26, 2025  Brooklyn. Winter. Snow melts into puddles of neon, the streets smell of cheap pizza and cigarettes. She walks in—in a short jacket, with a tired look, but with that smile that can sell dreams. Her name is Anora. And she's not a princess. But for a while—she will be one. "Anora" is Sean Baker's new film, bright, raw, and vibrant—the story of a girl from the escort business who suddenly finds herself at the pinnacle of someone else's fairy tale. The client is a young Russian billionaire from London, the son of an oligarch. A few days together, and he proposes marriage. Quickly, for real. She laughs, but says yes. |
"The Seed of the Sacred Fig" (2024), 18+ October 25, 2025  Tehran. The calm before the storm. Judge Iman, a man of law, faith, and fear, lives in a top-floor apartment in a residential area. He has a family, prestige, and a reputation. Everything is stable until a revolution starts on the news. "The Seed of the Sacred Fig" is a powerful political drama by Mohammad Rasoulof, shot on the edge of the forbidden, as if the very air within the frame could explode with the truth. Iman is called to work: there's a leak in his department, someone is passing information to the protesters. His weapon is confiscated, his every move is monitored. He returns home and for the first time feels like his own walls have become a cage. His wife Mina and daughters are silent, but there's something new in their eyes: disobedience, doubt. |