Nuremberg

 

This film sets up a titanic confrontation between Psychiatrist Douglas Kelley (Remi Malik) and former Reichsmarschall Hermann Göring (Russell Crowe) (or Freddie Mercury against Gladiator!). In the days at the end of WWII Göring and his family are captured in Austria whilst fleeing from the Allies. He along with 21 other surviving members of the top ranking Nazi leadership are held in solitary confinement as the Allies work out how to put them on trial before they are killed.

Although the film is nearly 2.5 hours long, it never drags. History tells us the destination of the narrative - the only question is how we get there. Most of the film centres on the encounters between Kelley and Göring as Kelley attempts to assess the state of well-being of the Nazi leaders. It is a complex and difficult task. One feigns amnesia, one has a nervous breakdown, another commits suicide. As Kelley and Göring play intellectual cat and mouse games, Göring continually tries to become Kelley's friend in an attempt to undermine the doctor/patient relationship. How far he succeeds is open to question such is the subterfuge going on.

There are few female characters in this story. A journalist Lila (Lydia Peckham) who writes for the Boston Globe and who will prove to be Kelley's downfall and Göring's wife and daughter who are holed up in a village nearby. The lead American prosecutor, Robert H Jackson's (Michael Shannon) secretary and adviser Elsie (Wrenn Schmidt) is also present but the world of the film is very much a man's world.

Eventually the Allies manage to gather a consensus that an International Military Tribunal will be set up to try the Nazis in Nuremberg - the site of their grand rallies in the 1930s. The Tribunal will have four judges, one each from the USA, UK, France and Russia. First of all, the Allies had to decide how to proceed when there is no case law that can guide a trial in an international context. What happened at Nuremburg laid the foundation for the international laws that exist today and which safeguard nations against other nations (supposedly).

Lead American Prosecutor Jackson, is a bit rusty in terms of engaging in courtroom cut and thrust as he has been a judge for many years. The lead British prosecutor, Sir David Maxwell-Fyfe (Richard E Grant) on the other hand is sharp and his questions penetrating, which eventually get the job done. As part of the prosecution case, newsreel footage is shown of a number of Concentration Camps being liberated and there is no holding back on what was discovered and shown in the film. This makes extremely uncomfortable viewing - be warned.

This film is not about the destination but the journey. Both Crowe and Malik turn in extremely good performances. It has a couple of twists and turns, including Kelley teaching Göring a magic trick which has serious repercussions. A lot of the dialogue is about who might hold the moral high ground and the ins and outs of how the relationship between Kelley and Göring unfolds exposes human hypocrisy on all sides. Kelley is exposed for being no different to the rest of humanity and that invited me ask the question if Göring and company were just the same as me or is there a difference. I'd like to think there is.

I was born in the 1950s in West Germany in the wake of the aftermath of WWII and as a consequence I felt the wind of hopeful change Nuremberg ushered in. The fact that West Germany no longer exists is good news. Except for the Balkans, and the odd military coup, Europe has enjoyed peace throughout my lifetime which is extremely encouraging - particularly given the times we live in now. The single most important lesson to come out of Nuremberg is to ensure that there is no need for another Nuremberg at some stage in the future.

In the years after the Nuremberg trial, Kelley writes a book on the episode and is invited to be on a panel on a radio show. He is convinced that the behaviour exhibited by the Nazi leadership is present in all cultures at all times - including the USA and only needs the right set of circumstances for it to come to unsavoury fruition. Caveat emptor! I'll give this film 8/10.

Up

 

This 2009 animation from Pixar won film of the year - and deservedly so. It is a gentle tale with likeable characters, a great story and a strong message.

As a young boy Carl Fredricksen (voiced by Ed Asner) is mesmerised by his hero, the explorer Charles Muntz (voiced by  Christopher Plummer) who explores remote areas of South America around Paradise Falls. He brings back the skeleton of a large bird but it is deemed by the scientific community to be fake and Muntz is banished. He returns to South America to capture a live specimen of the bird and so show himself to be honourable.

Carl stumbles on Ellie, a girl of similar age (voiced by Elie Docter) who uses an abandoned house as a den where she too is fixated on exploration and Muntz. Eventually they marry, buy the house and renovate it. Ellie builds a scrapbook and keeps most of it for her adventure of a lifetime - a visit to Paradise Falls in Venezuela.

Life for the couple goes on - Ellie as a keeper at the zoo and Carl as a balloon seller also at the zoo. In old age in her hospital bed Ellie gives her scrapbook to Carl before she dies. With the neighbourhood around the home being redeveloped by high-rise blocks, Carl holds out against the developers. He is eventually forced to move into a retirement home but instead attaches thousands of balloons to the house which breaks free from its foundations and flies off into the skies. 

Carl is enjoying the flight when he is disturbed by a knock at the door. Russell (voiced by Jordan Nagai) is a Wilderness Explorer Scout aiming to earn his final badge - helping the elderly. He has stowed away under the porch when the house took off. As the journey progresses, successfully navigating several hazards, Carl and Russell forge an uneasy relationship with Carl being grumpy and fixated on fulfilling his promise to Ellie.

Miraculously, the house lands in sight of Paradise Falls (only in a Disney story). As they explore, the couple meet Dug a talking dog (voiced by Rob Peterson) who knows the area well. They encounter a living giant bird (Kevin) with bright plumage and soon after other talking dogs which it turns out are the eyes and ears of Muntz, now advanced in years but seeking the bird as proof.

Muntz has soured and become nasty in his isolated existence and there are some great action sequences involving the characters. Eventually Carl, Russell and Dug commandeer Muntz's airship and journey home. Carl presents Russell with his badge to complete his collection.

Unbeknown to Carl, winds pick up the house and drop on the top of Paradise Falls thereby fulfilling Carl's promise to Ellie. In reflective mood, Carl opens Ellie's scrapbook and turns the pages reaching the title "My greatest adventure" which was intended to be used to record the trip to Paradise Falls. Instead the pages are full of pictures and notes from Ellie who lived her greatest adventure as Carl's wife and had a great life!

The message of the film is simple - don't waste your life waiting for your great adventure - go and live it now! An excellent film with great characters and animation. I'll give it 8/10.

The remains of the day

 

This film is as endearing as it repugnant. That said, I wasn't there at the time, I hadn't lived with the aftermath of WWI and who knows to what extent I would bend by morality if I thought peace rather than war was achievable? Also, I have never been a Butler!

My significant other really enjoyed the book and was keen to catch up on this 1993 period film out of the Merchant-Ivory stable. There is no doubt that the acting, sets, screenplay and cinematography are all first class - a film worthy of eight Academy Award nominations although it won none because of the opposition. Anthony Hopkins - Stevens and Emma Thompson as Miss Kenton command the screen as the atmosphere between the two of them fizzes and sparkles with the tension of unspoken attraction.

This is a film about duty, honour and unrequited love. Set between the wars in the country seat of Lord Darlington (James Fox) - Darlington Hall, it traces two intertwined stories. In the first, Lord Darlington uses his influence and international contacts to convene a gathering of politicians and influencers who might just be able to redress the crippling terms of the Treaty of Versailles on Germany and head off another conflict.

The second story is the relationship between Stevens and Kenton which Stevens never allows to get beyond the professional. Stevens allows himself to be defined by his role and he has no capacity for anything else beyond that. Always dutifully on call, anticipating the needs of Lord Darlington and the many house guests while managing a large domestic staff. He manages to get his father taken on as an under Butler but his father's failing health means he is no longer suited to the role and as he lies dying in his bed in the servant's quarters upstairs, Stevens chooses to continue serving his Lord at table. Duty prevails.

The life of being in service is one where marriage is not an option as you cannot serve two masters. The film reeks of Victorian values and unspoken social codes. Despite his unvoiced, even unacknowledged feelings for Kenton, Stevens is conflicted when she announces that she has accepted a proposal of marriage and will be leaving Darlington Hall. Inwardly, he is cut to the core but outwardly he offers her congratulations and accepts her resignation. They part. Duty prevails.

What is not immediately apparent, at least to me, is that Lord Darlington and his cronies are not mere appeasers, but actually becoming full-on right wing fascist sympathisers. This becomes apparent in later meetings where the servants of the house are party to all kinds of conversations which of course they choose not to hear. Their duty to their master prevails.

Although most of the film is set in the inter-war years, it opens in 1958 postwar Britain as a wealthy American who has bought Darlington Hall wishes to recapture the grandeur of its heyday - including keeping Stevens on as Butler. The American is former Senator Lewis (Christopher Reeve) who was part of the 1930's meetings that attempted to find a peaceful solution to the growing tension between Germany and the Western allies. He had the foresight to call Lord Darlington and his cronies amateurs who were in over their heads.

In further flashbacks to the 1930's we see Lord Darlington increasing his support for the Nazis and entertaining an Oswald Mosley type figure. He even arranges a meeting between the British Prime Minister and the German Ambassador von Ribbentrop.

In 1958 Lewis insists that Stevens should take a holiday. Having received a letter from Kenton after many years of silence, Stevens learns that she is now separated from her husband and longing for the fulfilment of the time she worked at Darlington Hall as Housekeeper. Stevens is urged to take the Daimler by Lewis and so he sets off to Somerset to find Kenton. 

En route he runs out of petrol and is forced to seek shelter in a local pub where he is mistaken for being a gentlemen. A local Doctor sees through Stevens and the next day whilst helping him refuel the car, confronts him and when her learns he is the Butler at Darlington Hall challenges stevens about his former employer's Nazi sympathies. To begin with Stevens denies things but eventually confesses to being party to overhearing many unsavoury conversations, stating that it was not his place to object - duty prevails.

Eventually Stevens and Kenton meet up and enjoy a pleasant afternoon tea together. Stevens is reticent about inviting Kenton to return to Darlington Hall, whilst Kenton states that she wishes to remain in Somerset close to her now pregnant daughter although she leaves the door open to be persuaded otherwise. Stevens, having missed the opportunity, leaves a  bitterly disappointed and tearful Kenton to vanish into the distance on the bus. Duty prevails.

Stevens returns to Darlington Hall where Lewis asks him if he remembers his speech all those years ago. Stevens replies he was too busy serving to pay attention to the speeches that were made.

This is a great film but ultimately leaves me feeling sad about the Stevens-Kenton situation and annoyed that I was taken in by Lord Darlington who all along was a Nazi sympathiser - hence my opening remark. The characters are very strong, but how close to any truth the story is, I do not know. It is however, a powerful exploration of the British class system and the blindness required by the duty of a Butler. Both quite depressing really. I'm finding it hard to score this excellent film because of what it did to me - a certain confirmation that it is indeed storytelling and acting of the highest order.

Deliver me from nowhere

This film is not about the songs. This film is all about the songs! As a Springsteen fan, I was filled with anticipation. What I got from watching this film was unexpected and much deeper than anything I could have imagined.  

This biopic takes a slice of Springsteen's life in 1981. Much has been made of the contrast between onstage and offstage Springsteen. Onstage he is 100% energy projecting a persona that personalises the songs in a way that connects with the audience. Offstage he is quiet and withdrawn, shunning the limelight and fame that comes with his growing success.

Springsteen (Jeremy Allen White) is welded to his blue-collar New Jersey upbringing. This is the lens through which he interprets life and the world that produces his earthy, industrial lyrics that make such a strong connection with his fans. The fact that this is a natural and not contrived process deepens the impact further.

There are frequent flash-backs to Springsteen's childhood where an eight year-old boy with no siblings lives in constant fear of violent outbursts from his alcoholic father (Stephen Graham). He is shown as being constantly distracted and in the film admits that High School was a bit hazy in his memory. The flash-backs add more and more context to his troubled childhood but don't go much beyond him as eight years old. The adult Springsteen in the film takes a narrow slice of 1981 as he withdraws from potential public stardom to a rented villa in a remote location, close to the town of Freehold NJ where he grew up.

Coming off the back of a hugely successful US tour, Springsteen is being pressured by his record label CBS to produce another album with hit singles, to tour and maybe even star in a movie - Born in the USA. Springsteen is clear he wants none of this. In the seclusion of his villa, he turns his bedroom into a rudimentary four-track recording studio on which he produces a cassette tape of songs which, because of the method of recording, sound rough and unpolished.

The inspirational catalyst for these new songs is a movie Springsteen catches on TV - Badlands and from which he decides to research the crime spree of Charles Starkweather who features in the film. Initially Springsteen writes lyrics that refer to the murderous Starkweather as 'he'. As the painful flash-backs come more frequently, a tormented Springsteen crosses out 'he' replacing it with 'I'. This completely transforms the power of the song. 

During this period, Springsteen hooks up with the younger sister of an old High School class-mate Faye Romano (Odessa Young) and a romance develops. This too offers raw material for some of the increasingly dark and sombre songs being recorded in the bedroom sessions. In the end, there is enough material for a double album and Springsteen presents his manager Jon Landau (Jeremy Strong) with an unboxed cassette tape as the demo for the next album.

They begin recording in New York City and lay down a powerful version of Born in the USA from the movie script Springsteen had been offered. The other songs are given the same polished production technique and while the musicianship of the East Street Band is never in doubt, the songs have lost their acoustic rawness which for Springsteen is an integral part of their identity.

A titanic struggle ensues on three fronts. Firstly for artistic control of his own material with the record company who want a polished hit-single filled album. Secondly in his own mind over his relationship with Faye and Springsteen's seeming self-doubt that he could never love her as she deserves to be loved. Finally within Springsteen's own psyche as he wrestles with the demons of his past as he tries to reconcile them to the person he is now.

Of these three, the only 'victory' comes in the external battle with the record company who release an album Nebraska with no publicity, no tour and without Springsteen's picture on the sleeve. It rises to number three in the US charts. The rest of the material that was recorded goes on to form the next album - Born in the USA which was to propel Springsteen to global stardom.

Springsteen's parents, who have since moved to Los Angeles are struggling and a phone call from his mother Adele (Gabby Hoffman) who is distraught as his father has gone missing and is off his 'meds', sees Springsteen respond by flying to LA to find him. This he does in a bar. He admits him to hospital and gets him back on his medication.

Shortly afterwards, Springsteen decides to relocate to LA to be nearer his parents and to cut his ties with Faye. The parting is messy and painful as Faye accuses Springsteen of being unable or unwilling to face up to his fears. They part.

Springsteen is driven to LA by his friend and mechanic Matt Delia (Harrison Sloan Gilbertson) and as the journey progresses Springsteen slides deeper into psychosis and in Lubbock Texas experiences a mental breakdown. Eventually reaching LA, Springsteen is delivered to his new mansion in the Hollywood Hills with panoramic views of LA symbolising to me, that he is king of all he surveys - he has conquered the music world.

Feeling suicidal, he reaches out to Landau who urges him to seek professional help. Springsteen engages a therapist and we cut to 10 months later and the end of a gig in LA where Springsteen announces to Landau that it is good to be back on stage. His parents are at the gig and he is ushered into a locker room where his father sits isolated and disconnected. He asks his son to sit on his lap which Springsteen reluctantly does. He tells his father this is the first time he has ever done that. His father tells him he is very proud of his son and all he has accomplished. The movie ends. An epilogue tells viewers that Springsteen continues to seek treatment for depression.

This film allows us the privilege of a peek at the powers and memories that inspire creative people to create or at least this creative person. Those of us who do not have such creative outlet channels have to find other ways of channeling our inner angst and making our relationships work as we seek to love and be loved in the midst of trying to understand who we are.

I will never listen to the songs of Nebraska in the same way again. Great acting performances and of course great songs! I'll give this film 8/10.

F1

Yes, this is a film about motor racing - but it's much more than that. There is a lot of in-car tight action camera shots as Joshua Pearce (Damson Idris) and Sonny Hayes (Brad Pitt) race against the likes of Hamilton, Verstappen and LeClerc. But, there is strong acting across the cast to deliver characters with great complexity and a couple of romances thrown in for good measure.

The narrative arc of the film is quite simple and covers the final nine races of the F1 season. The ailing 
APXGP F1 team is owned by Ruben Cervantes (Javier Bardem), a one-time friend and team mate of Hayes 30 years previously. In desperation to save the team and stave off $350m of debt, Cervantes turns to his friend to become the lead driver and rescue the season before the board sell off the failing team.

What makes this film so compelling is the way in which it feels like APXGP F1 is simply another team in the F1 paddock as many scenes integrate real pit lane activity with all the F1 stars in the background and on the track. Commentary even features SKY F1's TV presenters Martin Brundle and Crofty. At times it feels much more like a docudrama than a movie such is the realism that is created.

There is even a "Bernie Collins' character in the guise of Technical Director Kate McKenna (Kerry Condon) whose Irish charm, sparkly eyes and razor sharp brain combine to deliver the perfect foil for the uber-cool and laid back Sonny Hayes.

For those who are willing to look behind the flashy and noisy F1 circus, this film delivers a number of engaging character studies. The age and experience of the peripatetic loner Hayes against the driving ambition of live-with-his-mum Pearce, creates a tension that sparks and throbs throughout the film. The likeable but desperate Cervantes anchors the story. The sleazy Peter Banning (Tobia Menzies) adds an element of someone you love to hate. The completely likeable Jodie (Callie Cooke) who becomes very clumsy in the presence of Pearce lifts the scenes she appears in.

There is inevitably a lot of testosterone and machismo in this film given that it represents the pinnacle of male competitive sport. But as I have said, there is a lot more to it as we are invited to explore all the characters including Pearces mum (Sarah Niles) and manager (Samson Kayo) as well as the APXGP Team Principal (Kim Bodnia). In a world where there is easy temptation to cut corners, it is good to see people holding out to do the right thing in the right way. Tenderness, love, self-doubt and forgiveness all have their parts to play. This film is character driven rather narrative drive. The narrative is simply a vehicle.

I saw this at my local IMAX cinema and the pictures and soundtrack were immersive. Plenty of low-end rumble! I would recommend this film - even to those who are not motor racing fans. I'm going to give it 8/10.

Salt Path

It's hard to believe that a film about a couple walking the south west coastal path of England can be anything more than observational documentary or low budget reality TV. Context is everything! What sets this film apart is the fact that it is rooted in a real life tragedy which through many ups and downs eventually delivers a triumph. It is a story of love, commitment, victimisation, perseverance and an openness to be transformed by the experiences that life gives to you.

Many will have read the book. I am informed by a reliable source that the film is true to the spirit of the book. The story is about a couple who have been made homeless and who decide to walk the south west path from  Minehead to Lands End as they have nothing else to do. This film is so much about the journey and not the destination. It is not an action movie and proceeds at a slow plodding pace which helps the viewer to enter into the monotony and struggle of the ups and downs of the coastal path, which mirror the ups and downs of the couple's experience.

What is unclear in the film is if there is any culpability on the part of the couple, Moth (Jason Isaacs) and Raynor (Gillian Anderson), for facing the bailiffs and having their home taken away. There is mention of poor investment choices at one stage but the story is not about how they got into their predicament, but how they confront it. The scenes of the eviction catch in graphic detail the fear and anxiety such an experience generates. So, virtually penniless and with just a tent and the clothes they are wearing, they set off for Minehead.

What complicates matters is that Moth has been diagnosed with a degenerative neurological illness that has given him a left-sided weakness which makes walking difficult - especially up and down the hills and coves of a coastal path.

The couple are mostly cheerful and embrace the freedom of their situation with no deadlines or responsibilities. Moth's condition limits their speed, but Raynor never complains. They meet and are able to encourage a number of folk along the way. They both give and receive hospitality - even spending a night or two in a commune where Raynor has a mind-bending experience.

Along the path they experience a wide range of encounters. Several times, older people walking their dog yell at them telling them that they "can't camp here". There are encounters with different groups of animals which the cinematography turns into a quasi-spiritual encounter - deer, fish, rabbits, goats and seals all feature to offer a 'thin place' encounter. The couple seem to be periodically accompanied by a hawk that squawks and swoops to guide them on their way.

In one seaside town they meet a girl Sealy (Gwen Currant), who seems to be under the control of her aggressive partner. Recognising her predicament they invite her to join them but she refuses but later, for a time, accompanies Moth and Raynor along the path before turning back. I guess this encounter shows that we are not able to help everybody.

The film offers a stunning travelogue for the coasts and communities of Somerset, Devon and Cornwall. Wild, windy and sometime wet, the views are breathtaking and the sunsets mesmerise. One annoying thing that happens a couple of times is that the sea is on the wrong side if they are heading West! Much of the film shows the face of either Moth or Raynor full-frame as they drag themselves along the path and up and down the hills. A hirsute Jason Isaacs  contrasting with the natural beauty of Gillian Anderson whose accent does wander a bit throughout the film.

This is a slow and gentle film which evokes a slow and gentle response. It invites the viewer to reflect as Moth and Raynor are forced to do the same as they process what is happening to them and the reason they are on this pilgrimage. Ultimately the experience is a very positive one, but it is as much about the journey as arriving at Land's End. This is a hopeful film. I encourage you to seek it out and do your own reflecting on where your life's journey has taken you. I'll give it 8/10.

Inside Out 2

It is rare for a sequel to live up to the original but in this case it surpasses it! I watched this with a group of friends form church and we reflected on it together afterwards. We had seen the original about three months ago and that had been well received.

This is a Disney Pixar animation which shows the state of the art with graphics that look so smooth and life-like. In describing the film, I have to give a little bit of the plot away but I don't think that will spoil things for you as this is not a plot-driven film.

The central premise is that we spend most of the film inside the head of Riley - a girl who in the first film was eight and who now reaches 13 and puberty! Riley is controlled by a number of emotions who appear as anthropomorphised avatars at the control console of her emotions. As the emotions tussle for influence and control so Riley undergoes changes in mood and behaviour.

In the first film, Joy was the dominant emotion - as it should be in childhood. Alongside Joy were Sadness, Anger, Fear and Disgust. A nice neat quintet. With the onset of puberty a maintenance crew turn up to upgrade the console and with the new console comes some additional emotions. Life for Riley is about to become much more complicated.

As Riley makes the jump to High School which enforces a separation from her two closest ice hockey playing friends, so she also has to navigate relinquishing some of her sacred childhood totems as she tries to step up in the world and join in with the big girls.

With new emotion Anxiety taking control of the console and the former set of emotions banished, Riley struggles to get to grips with Envy, Embarrassment and Ennui. The former emotions embark on a journey to recover Riley's sense of self which was banished to the back of her mind by Anxiety. Can they succeed and integrate the old emotions with the new in a way that Riley can cope with, without having a breakdown and which helps her developing teen-self, develop a healthy and evolving sense of self?

Again, the script and narrative are based on well informed psychology and highlight all the right issues, so much so that some watching found that it uncomfortably reawakened their struggles with their transition through puberty. Not bad for an animation!!

This film is a gift to those leading teenage youth groups or working with youngsters that could profit from this indirect way of inviting conversations about our emotions, how we use them and how we can try and maintain a healthy balance. I thought it was excellent and give it 9/10.

Conclave

 

How can you make a drama about 108 old men choosing one of their number to become their leader? Director, Edward Berger manages to produce one of the most gripping films I have ever seen. This film is wonderfully scripted, brilliantly filmed with so many framed shots and full-face closeups, mesmerisingly detailed in its sound production and above all, acted with such power, it is simply stunning.

Following the death of the Pope, Cardinal Lawrence (Ralph Fiennes) is tasked with Presiding over the Conclave of all the Cardinals of the Roman Catholic Church as they gather from around the world in the Sistine Chapel of the Vatican to cast their votes to elect a new Pope.

On the face of it, it is a straightforward task and process. The film shows that even Cardinals are human and open to the same lapses as the rest of us. Watching this film at a time when in reality His Holiness is so unwell adds an edge to the proceedings. Additionally, as the Mother Church of the Anglican world is also attempting to gather its own conclave in the guise of the Crown Nominations Commission to choose its next leader, there is a further uncomfortable echo.

The Cardinals meet, they talk, try to drum up support for their chosen nomination, vote and elect a new Pope. That is all so simple on the face of it, but the intrigue and politicking that goes on in the name of God - well I'd like to say that it's unbelievable but sadly I can't. The film offers nothing other than a damning indictment of a human institution that conducts itself in ways that are alien to the teachings of its founder. It is very sad.

In a predominantly male context, the film allows plenty of room for women in the church to play pivotal roles. I won't list the ins and outs of the scheming that goes on, or the conclusion that is reached. You can discover them for yourself. Yes we all know the narrative arc - a bunch of old guys are locked away enjoying good food and wine and the occasional prayer, until they choose one of their number by two thirds majority to become Pope. But the way this film navigates that arc is masterful. It is so engrossing that I forgot I was watching a film - I was there! 

For me, what shone brightest was the integrity shown by the character of Cardinal Lawrence. The angst and pain etched on Cardinal Lawrence's face (see above) never disappears. He had a task to do and he was not going to allow himself to become deflected from completing it and so fulfilling the trust placed in him by the previous Pope. All the Cardinals were under Papal scrutiny and it was Lawrence who was chosen to Preside over the Conclave. I felt such a deep connection to his character that I wonder if he and I share the same personality type! (ISTJ - or he might be INTJ.)

With the Oscars being handed out tonight it will be interesting to see how this film does. I hope it does well. I'll give it a very rare 10/10!