Come closer my pretties...

It's a wrap! Or a warp. I like to offer you an informed choice. ;-)

Film: Nouvelle Vague, 2025, is US / French film about the making of A bout de souffle. So it's a Richard Linklater homage to Jean-Luc Godard - a movie god making a film about a god of cinema, or at least a godard of cinema. Exactly as you'd expect in every way. I felt it didn't quite deserve full marks due to minor blandness and predictability, but there are no actual faults with the film: the audience gets what it deserves. ;-) 4.5/5
P.S. That dance scene from Bande à part referenced again (but Le Week-End is still my fave recreation).
P.P.S. So, now I've mentioned the other film, Nouvelle Vague has a smart script with slick direction and cinematography and production... but it's also sorta shallow compared to Le Week-End, which gave audiences three truly great film actors* allowed space by the director to explore everyday human experience in depth. Both movies focus on trivia, one more intellectually and one more emotionally, but only one of them finds additional profundity. Quoting philosophical one-liners is not in itself a profound activity and any parrot can be trained to do it. Nouvelle Vague is a tribute, while Le Week-End is an original.
* Lindsay Duncan, Jim Broadbent, and Jeff Goldblum.

Film: Grass, a Nation's Battle for Life, 1925, US / Bakhtiari documentary film about the seasonal migration of 50,000 of the Bakhtiari (Lurs) and all their sheep, goats, cows, horses, donkeys, and dogs from exhausted pasture to fresh pasture, across several rivers including the Karun and over a snow covered mountain pass through the 4,221m Zard-Kuh subrange. Just crossing the river takes a week! (Spoiler for history: when the team considered remaking the film in 1947 they were told the migration was now done mostly in cars and trucks.) It is, of course, a silent movie, although the music track for the screening I attended was painfully ear-splittingly loud for no apparent reason. There are explanatory intertitles throughout, beginning with typical USian self-congratulatory racism about "Aryans" supposedly originating in West Asia and progressing westwards as civilisation progressed... with the implication that Hollywood is the peak of human culture, lmao (USians: so modest!). If you're wondering why the intertitles keep shouting "Yo, Ali!" it's because the Bakhtiari are Shia Muslims.
Presenter: Marguerite Harrison.
Conclusion: worth seeing on a BIG screen for the spectacle, but the commentary is as racist as most "Aryan" ethnography of the time. No rating.

Film: Köln 75, 2025, is a German film about... well, that's a problem because it doesn't know what it's about. ( Cut for moaning. )
Conclusion: the filmmakers and their male gaze didn't find Vera Brandes that interesting as a central subject, they couldn't focus on their hero Keith Jarrett, so they produced a confused hash spiced up with teenage girl sex-appeal for their chosen audience. No rating because the film is too inconsistent.
P.S. There's a documentary, Lost in Köln, 2025, which I haven't seen but I'm guessing would be a more worthwhile investment of time than... whatever this was that I watched.
P.P.S. Only fun if you understand German but... Floh de Cologne - Sei Ruhig Fließbandbaby.

* Piano tuners being a hot theme for movies made in 2025 for some reason?

Film the collective most wanted to see together but missed was Queer as Punk, 2025, which I mention because some of you might also be interested in a queer Malaysian punk movie.

Film: All That's Left of You, 2025, is an unexpectedly gentle and also thoughtful film about a Palestinian man and his family, told episodically from 1948 to 2022. I usually resent any film over the 2hr mark but this deserved and filled the 2hrs 25mins it took to tell these stories. The cinematography is decidedly beautiful, with Palestinian lives and homes being lit in warm colours. I hadn't read any spoilers so I'd no idea where these stories were heading beyond forwards in time from the Nakba through the First Intifada, and I was surprised by the later themes which I thought were extremely well handled despite their difficulties. An aspect of the film-making that drew my attention very early on were casting decisions for the two occasions during which we see close-ups of members of the Israeli military being abusive, when the actors chosen looked as much like the Palestinian lead as possible, so the first could have been his brother and the second a close cousin (a more diverse population was shown but the casting in these two incidents was clearly intentional).
Conclusion: I recommend watching All That's Left of You if you enjoy heartfelt family-themed films (also rated 12A - about PG-13 - despite the surrounding violence [/ reminder that European film ratings tend to be higher for violence (and lower for sex) than US ratings ]). 5/5

Film: Colours of Time / La Venue de l'avenir, 2025, is a lightweight middle-of-the-road French film exploring recent history through the lens of one family, and was clearly sponsored by the Normandy tourist authority (and good for them!). The casting suited the plot as well as the characters, the lighting was good, and all the very mainstream music - from acoustic to electronic dance - was spot on. Cliches are racked up constantly, but each is well done and forgivable (except possibly Monmartre as a romantic pre-suburb village, which was wholly unnecessary nostalgia that didn't rly work as commentary on the present and was balanced by the equally saccharine Ooo They've Got Electricity scene). The Obligatory Pride in French Arts Culture is offset by making it mildly amusing. Beekeeping featured as the vaguest form of token environmentalism. There is the most improbably upbeat and escapist take on teaching as a career. Warning for the usual pervasive French misogyny, albeit dialled down as this is intended to be a sweet story. Nonetheless I noticed the Stressed Businesswoman Who Just Needs a "Date" trope, and although the Women's Magazine Culture is Lol Lowbrow trope was offset by humour, there was also Historical Women Were All Sex-Workers. Also warning for glamourised recreational drug-taking. The best laugh line was "I got hit on by Victor Hugo!" and I'm absolutely not going to spoil the context, although for balance there was also a dreadful pun about cat/chat room filters.
Themes: family, love, nostalgic history. 5/5

Film: The Blue Trail / O Último Azul, 2025, is a Brazilian film, that I saw with the original soundtrack and subtitles (there seems to be a terrible dubbed trailer about too?). In a near-future dystopia, 80 year old people are bussed away to a "colony" for old people so they don't impair the economic activity of younger people... according to pervasive government messaging. Unfortunately for the protagonist, Tereza, the age limit is lowered to 77 only a few weeks before her 77th birthday. She is mandatorily retired from her job at an alligator processing factory (warning for animal death and dismemberment) and sent home to her small shack to await the inevitable. However, Tereza has other ideas and decides to flee in pursuit of her desire to fly. Along the way she meets a drug-taking riverboat courier who shows her a wild snail that excretes blue "drool" which induces visions in humans when used as eyedrops. Various snitches try to turn her in to the authorities, and her dream of flying crashes. But Tereza meets another riverboat traveller, on the rainbow-coloured Caridad (Charity - aka loving kindness), who might have an alternative dream for our heroine. But what will the visionary wild snail reveal about this, and how much will Tereza's renewed life cost her and the animals she inevitably continues to exploit (more warnings for animal death)?
Themes: exploitation, of people and animals and the environment; but also love and redemption (which has its price, like all redemption). Possible lesbian and/or female friendship themes but these are choose your own adventure interpretations.
Conclusion: beautiful, disjointed, occasionally upsetting, and partially individually redemptive. 4/5