LUCY IN THE SKY
In LUCY IN THE SKY, Natalie Portman plays astronaut Lucy Cola, who returns to Earth after a transcendent experience during a mission to space – and begins to lose touch with reality in a world that now seems too small
Forever alone in a crowd, Arthur Fleck seeks connection. Yet, as he trods the sooted Gotham City streets and rides the graffitied mass transit rails of a hostile town teeming with division and dissatisfaction, Arthur wears two masks. One, he paints on for his day job as a clown. The other he can never remove; it’s the guise he projects in a futile attempt to feel he’s a part of the world around him, and not the misunderstood man whom life is repeatedly beating down. Fatherless, Arthur has a fragile mother, arguably his best friend, who nicknamed him Happy, a moniker that’s fostered in Arthur a smile that hides the heartache beneath. But, when bullied by teens on the streets, taunted by suits on the subway, or simply teased by his fellow clowns at work, this social outlier only becomes even more out of sync with everyone around him
In the long days of summer in a beach town on the New Jersey shore, high schooler Alan (Keean Johnson) and his friends Red (Alex Neustaedter) and Smitty (Daniel Zolghadri) break into vacation homes to steal valuables, funding dates at the boardwalk and lunches at the burger stand. When Alan and his younger brother Peter (Jaeden Martell) find a bag of gold coins, they try to hide them from the others — but Red, suspicious and violently unpredictable, seems willing to do anything to get the money.
PAIN AND GLORY
Pain and Glory tells of a series of reencounters experienced by Salvador Mallo, a film director in his physical decline. Some of them in the flesh, others remembered: his childhood in the 60s, when he emigrated with his parents to a village in Valencia in search of prosperity, the first desire, his first adult love in the Madrid of the 80s, the pain of the breakup of that love while it was still alive and intense, writing as the only therapy to forget the unforgettable, the early discovery of cinema, and the void, the infinite void created by the incapacity to keep on making films. Pain and Glory talks about creation, about the difficulty of separating it from one’s own life and about the passions that give it meaning and hope. In recovering his past, Salvador finds the urgent need to recount it, and in that need he also finds his salvation.