Martin Cid's Blog: Martin Cid Magazine, page 91

Tom Papa’s Stand-Up Comedy Special on Netflix from Washington: “Home Free”

Tom Papa stars in “Home Free,” a Netflix stand-up special directed by Troy Miller.

Tom Papa graces Netflix with a stand-up special that reveals an undeniable truth: everyone ages, whether we like it or not. With his genuine humor, Papa injects a delightful blend of the humorous, the sad, the sarcastic, and the whimsical into everyday life.

The show kicks off with Papa sharing his feelings about his daughters leaving for college. He expresses joy at finally having some alone time. From there, he delves into a relatable mix of frustration and daily life experiences, which, thanks to his exceptional comedic talent, become amusing.

Tom Papa has a unique gift: making us feel less alone by sharing our woes with a light-hearted touch. He achieves this with his characteristic smile, quirky demeanor, and a comedic take on the mundane. This stand-up routine is classic Papa, blending humor with occasional exaggerated gestures and facial expressions—just enough to keep things lively. His humor is deeply rooted in everyday experiences, presented with sincerity and a hint of melancholy.

Netflix once again brings us this singular comedian, whom we particularly enjoy. This stand-up special stands apart from Papa’s previous works—it’s less direct and sarcastic, yet remains heartfelt and incredibly relatable to the audience.

Where to Watch “Tom Papa: Home Free”

Netflix

The Hungarian State Opera Stages Verdi’s Requiem

The Hungarian State Opera is proud to present Ádám Tulassay’s new interpretation of Verdi’s Requiem, a staged production featuring remarkable Hungarian soloists Andrea Brassói-Jőrös, Andrea Szántó, István Kovácsházi, and Krisztián Cser. The musical performance will be brought to life by the Hungarian State Opera Orchestra and Chorus under the direction of conductor Péter Dobszay.

Hans von Bülow’s oft-quoted critique, referring to Verdi’s Requiem as “an opera in ecclesiastical costume,” aptly captures the widespread perception that, despite its foundation in the Catholic liturgical structure and text, Verdi’s Requiem transcends religious content to convey a universal message of mourning. The work endeavors to express a range of emotions, including Verdi’s own, utilizing techniques familiar from his stage operas. The composer was moved to write the funeral mass following the deaths of two esteemed compatriots: composer Gioachino Rossini and poet Alessandro Manzoni, a prominent figure in Italy’s unification, known as the Risorgimento. Verdi’s Requiem reflects the gamut of emotions associated with grief, from pain and sadness to anger and fear of judgment day, culminating in a hopeful longing for peace. These emotions are conveyed with the dramatic intensity typically found on opera stages rather than in church services.

Director Ádám Tulassay, an alumnus of the School of Music Hanns Eisler Berlin and Screen Academy Scotland, was tasked by the Hungarian State Opera to stage these dramatic emotions. Tulassay made his directorial debut with Puccini’s Edgar in 2019 at the Hungarian State Opera. For this production of Verdi’s Requiem, the visual interpretation crafted by the creative team—including set designer Angéla Csúcs, costume designer Krisztina Lisztopád, choreographer Márton Csuzi, animation designer Zsombor Czeglédi, and lighting designer Tamás Pillinger—draws inspiration from Fritz Lang’s iconic film Metropolis. The concept portrays death as the absence of life, interpreting the various movements of Verdi’s work as a series of emotionally charged scenes viewed through the perspective of the soprano, performed by Andrea Brassói-Jőrös, and her contemplation of death and judgment day.

Following its successful world premiere in 1874, Verdi’s Requiem had its Hungarian premiere a year later at the National Theatre, conducted by Sándor Erkel. The first performance at the Opera House was conducted by Sergio Failoni in 1903, and it became a staple in the repertoire around All Souls’ Day from 1930. This tradition was interrupted after the communist regime came to power, but the work was revived in 1964 in memory of Mihály Székely, gradually reestablishing its place in the repertoire. The practice of performing the Requiem around All Souls’ Day was reinstated in 1991.

Following the premiere on November 2, 2024, Verdi’s Requiem will also be staged on November 3, 10, and 15 at the Budapest Opera House, offering audiences multiple opportunities to experience this poignant and powerful production.

Ascending Inferno: Now Available on Steam

Oppolyon Studios, a small indie game development team from Australia, is thrilled to announce the release of their debut game, Ascending Inferno, now available on Steam for $14.99 USD! (Note: Regional pricing may vary.)

This Foddian soccer platformer delivers more content than typically seen in the genre, featuring multiple layers of hell to ascend, each presenting its own unique set of challenges. Be warned: one wrong move can set you back significantly! But fear not—if you’ve got the skills, you’ll conquer it.

Wondering what a “Foddian” game is? It’s a genre characterized by simple mechanics that demand precision and are brutally unforgiving of errors. The term “Foddian” is derived from Bennett Foddy, the creator of the pioneering game Getting Over It with Bennett Foddy.

While Ascending Inferno may pose a formidable challenge, it is designed to be more accessible and forgiving. The game tells the gripping tale of two siblings striving to escape from hell together. Embrace the struggle and find solace in knowing you won’t face it alone!

Lynne Drexler’s First Solo Exhibition in Europe at White Cube Gallery, London

White Cube is honored to present a solo exhibition featuring the works of the late American artist Lynne Drexler (1928–1999). This exhibition marks the first major presentation of Drexler’s art in Europe and her debut exhibition with the gallery since the representation of The Lynne Drexler Archive was officially announced in November 2023. A subsequent solo exhibition is planned for White Cube Hong Kong in March 2025, which will be the first-ever presentation of Drexler’s work in Asia.

The exhibition, titled ‘Lynne Drexler: The Sixties,’ showcases never-before-seen works from the Archive. It includes vibrantly colored paintings, collages, and works on paper created between 1959 and 1969. This significant period in Drexler’s career highlights key developments in her artistic practice, particularly the introduction of her distinctive swatch-like brushstrokes and her utilization of geometric forms.

Lynne Drexler was born in 1928 near Newport News, Virginia, and was associated with the second generation of Abstract Expressionists. Her work was visibly influenced by Impressionism, Fauvism, and Pointillism, art movements that simultaneously reflected her deep appreciation for classical music and nature.

Like many female artists of the post-war era, Drexler’s contributions were often overshadowed by her male contemporaries and peers, only now being reintegrated into the broader narrative of art history. Despite studying under notable figures such as Hans Hofmann and Robert Motherwell, she remained on the margins of the art world while her husband, the painter John Hultberg, achieved a comparable level of success and recognition.

After two extended stays in Europe during the early 1950s, Drexler made the crucial decision to relocate to New York City in 1955. There, she became actively involved in the city’s vibrant and intellectually stimulating art scene. Over the next decade, she produced outstanding works of art that explored color, form, and spatial tension.

By the mid- to late-1960s, as the popularity of Abstract Expressionism waned, Drexler’s work evolved into a distinctive, lyrical style of abstract painting. This evolution was heavily inspired by the landscape surrounding her summer home on Monhegan Island, off the coast of Maine.

Following her separation from Hultberg in 1983, Drexler permanently settled on Monhegan Island. Her artwork began to increasingly incorporate elements of the rugged coastal scenery. Although she remained largely undiscovered by the broader art world, Drexler gained local recognition in the final two decades of her life by exhibiting in galleries around her home and the nearby mainland.

‘Lynne Drexler: The Sixties’ pays tribute to the enduring legacy of an artist who, despite the shifting tides of the art world, never wavered in her commitment to creation. The exhibition is on display at White Cube Mason’s Yard, London, from November 27, 2024, until January 10, 2025. The subsequent exhibition at White Cube Hong Kong is scheduled to open in March 2025.

Lynne Drexler.
The Sixties.
November 27, 2024 – January 10, 2025.
White Cube Mason’s Yard, London.

Rose Valland: A Restitution Hero Celebrated at Christie’s in Paris and New York This Autumn

Rose Valland (1898-1980) stands as an iconic figure in the annals of art history and cultural preservation. A distinguished French art historian and curator at the Jeu de Paume in Paris, Valland was also an active member of the Resistance during World War II. Her clandestine efforts in documenting the art plundered by the Nazis have rendered her an invaluable asset to the field of provenance research and restitution. During the German occupation of Paris from 1940 to 1944, the Jeu de Paume was repurposed as a repository for the vast array of artworks looted by the Germans. Valland meticulously recorded details of these stolen works, a feat she would later immortalize in her 1961 publication, “Le Front de l’Art,” based on her surreptitious notes. Today, her contributions are still immensely valuable for ongoing efforts to return these artworks to their rightful owners.

Rose Valland’s exemplary service did not go unnoticed. She was the recipient of numerous accolades, including the médaille de la Résistance française in 1946. The French government further honored her by naming her an Officer of the Légion d’honneur and a Commander of the Ordre des Arts et des Lettres. International recognition followed, with Valland being awarded the United States Presidential Medal of Freedom in 1948 and the Order of Merit of the Federal Republic of Germany in 1972, making her one of the most decorated French women in history.

This November and December, two significant events at Christie’s will commemorate Rose Valland and her enduring legacy:

The Auction of an Iconic Painting

On November 21, “Portrait de femme à mi-corps” by Nicolas de Largillierre, painted around the turn of the 18th century, will be featured in the Old Master Painting auction in Paris: Maîtres Anciens: Peintures – Dessins – Sculptures. The painting’s provenance is intricately linked to the Allied Monuments, Fine Arts, and Archives Section, commonly known as the Monuments Men. The artwork was looted from the bank vault of Baron Philippe de Rothschild in Arcachon in late 1940 and subsequently transferred to the Jeu de Paume in Paris in February 1941. Thanks to the clandestine notes taken by Rose Valland, the painting was recovered by the Monuments Men in May 1945, mere days before the end of World War II, at Neuschwanstein Castle in Bavaria.

“Portrait de femme à mi-corps” is not merely a splendid work of art; it is also featured in an iconic photograph taken in May 1945 on the steps of Neuschwanstein Castle. The photograph captures James J. Rorimer of the Monuments, Fine Arts, and Archives Section alongside three soldiers of the 7th U.S. Army, each holding one of the many artworks looted by the Germans. The painting is visible on the right-hand side of this historic image, underscoring the critical role played by the Monuments Men during and after the war.

Owing to Rose Valland’s foresight in documenting the looted art, the painting was located in Bavaria alongside thousands of other stolen works and returned to Paris in November 1945. This swift action by the Allied authorities facilitated a rapid initial wave of restitutions. The artwork was officially returned to the Rothschild family on May 3, 1946, and remained in their collection until 1978, when it was acquired at auction by its current owner. The portrait is slated for auction on November 21 in Paris, with an estimated value of €50,000-80,000.

The painting exemplifies the style of Nicolas de Largillierre, a leading painter in Paris during the reign of Louis XIV and the Regency. His highly esteemed portraits, reminiscent of Rubens and van Dyck, are featured in the permanent collections of prestigious institutions such as the Louvre, the Château de Versailles, and the Uffizi Galleries. Works by Largillierre have recently garnered renewed interest from collectors worldwide, highlighted by the auction record set at Christie’s in 2020 when “La Belle Strasbourgeoise” sold for €1.6 million.

Le Front de l’Art/ The Art Front

The English Translation of “Le Front de l’Art”

On December 10, Christie’s New York will host the Monuments Men and Women Foundation’s launch of the first-ever English edition of “Le Front de l’Art” (The Art Front). Valland’s seminal work, originally published in French in 1961, details her covert efforts during the war.

As looted French private collections were processed through the Jeu de Paume, Valland eavesdropped on German conversations and meticulously documented the destinations of shipments filled with stolen art. Her unassuming appearance and quiet demeanor masked her astuteness and bravery. Despite some Nazi suspicions, her fluency in German allowed her to glean critical information from their conversations. She also gathered intelligence from her colleagues, drivers, guards, and packers, relaying all her findings to Jacques Jaujard, director of the French National Museums.

After the liberation of Paris by Allied forces in late August 1944, Monuments Man Captain James J. Rorimer met with Rose Valland. The information she had risked her life to gather led to the discovery of multiple repositories of looted art, most notably at Neuschwanstein Castle, and played a crucial role in the restitution process.

“Le Front de l’Art: Défense des collections françaises 1939-1945” inspired the 1964 Hollywood film “The Train,” starring Burt Lancaster and Jeanne Moreau, and, fifty years later, another Hollywood production. Valland dedicated the book “to all those who fought during the last war to save some of the beauty of the World.” She envisioned an English translation to make the book accessible to an anglophone audience. Translated by Ophélie Jouan, an art historian and Rose Valland specialist, with financial backing from Christie’s, “The Art Front” is now available in English from Laurel Publishing LLC, featuring a preface by Robert M. Edsel, Founder and Chairman of the Monuments Men and Women Foundation.

Hong Kong International Photo Festival’s Exhibition “Mega Family: Imagining Home”

The Hong Kong International Photo Festival (HKIPF) is set to make its grand return from November 8 to December 8, 2024. The highlight of this year’s festival is the flagship exhibition titled “Mega Family: Imagining Home,” held at the prestigious Hong Kong Arts Centre. Co-curated by Blues Wong and Carol Chow, this exhibition builds upon the festival’s earlier thematic explorations of “home” seen in the 2013 exhibition “300 Families” and the 2016 exhibition “1000 Families.” Sponsored by FUJIFILM HK, “Mega Family: Imagining Home” invites 15 local photographers spanning different generations to present their works depicting Hong Kong since 2020. The exhibition delves into the redefinition of home and family in the post-pandemic era, serving as a visual record of the social transformations that have unfolded under the new normal.

Unlike previous years, which included satellite exhibitions and collaborations with international artists, this year’s HKIPF is distinctly focused on local culture through a single thematic exhibition. “Mega Family: Imagining Home” aims to explore the evolving physical, cultural, and psychological landscapes of post-pandemic Hong Kong. It seeks to examine how the meanings of “home” and “family” are being reshaped by changes in the environment against a backdrop of dynamic social shifts.

“We hope that by concentrating on local culture, this exhibition can reveal the multifaceted stories of Hong Kong,” commented co-curator Blues Wong. “Post-pandemic, the concept of home has transformed from a singular notion into a dynamic entity, characterized by various flows and intersections. We anticipate that the audience will find resonance in these narratives and connect deeply with these stories.” Co-curator Carol Chow adds, “The imagination of home is not static; it continuously evolves with time and experience, and this is the essence we aim to explore in the exhibition.”

The contributions from the 15 local photographers collectively weave a nonlinear, ongoing narrative of Hong Kong. Each photographer provides a unique perspective on the diverse facets of “family” and “homeland,” while simultaneously showcasing the evolution of photographic techniques—from manipulation and mixed media to experiments with artificial intelligence. These works exemplify the rhizomatic potential of photography to narrate, respond to, and imagine reality in myriad ways.

Featured Artworks
The following introduction is arranged in alphabetical order by the photographers’ artist name and surnames in English.

anothermountainman (Stanley Wong): i see ikebana. it is ikebana.
Artist, photographer, and designer anothermountainman has crafted a captivating series of ikebana photography. Upon closer examination, viewers will discover that the subjects are not real flowers but composed of various non-plant materials, including plastic ties, knitting needles, paper shreds, and extraction tubes from rapid COVID-19 antigen test kits. In his artist statement, he succinctly expresses his vision by playing on a Zen Buddhism text : “see flowers from heart, enjoy the flowers. feel home in heart, embrace…and stay home.” This beautifully encapsulates the meaning of home—not merely a physical space, but a profound sense of belonging.

Michelle Chan: A Taste of Home (2024)
A relational artist who works primarily in photography, Michelle Chan uses the camera and manipulated images to generate connections and conversations with people. The photographic series A Taste of Home (2024) is an extension of previous works DayDayCook and Grandma Grandpa Cook 2. In this series, Chan explores the roots of the relationship between her husband’s extended family and food by tracing the history of family recipes from their hometown in Shanwei, China.

Chan Oi Yan: /imagine prompt Home
Even family members living under the same roof can have different interpretations of an “ideal home”. Photographer Chan Oi Yan engaged in a casual conversation with her family to envision what their long-time residence might look like after renovation. After gathering the ideas from all four family members, she synthesised these visions into a singular directive, inputting their collective thoughts into artificial intelligence to generate imagery. These images, printed instantly, masquerade as spontaneous captures of the present moment. The final exhibition interweaves AI-generated instant images with those taken in reality. The illusion in reality and the reality in illusion are thus interlinked.

Almond Chu: HOME PARADOX
Photographic artist Almond Chu explores themes of identity, integration with the environment, and more through a sci-fi lens. In his series, aliens seeking a habitable place become gradually assimilated into the Earth’s environment, ultimately evolving to look identical to each other. This symbolises the loss of individuality and diversity in the process of adapting to life, prompting reflections on the relationship between self and community. When the aliens discover another habitable planet that would restore their diversity, they also face the sacrifice that relocation would cause.

Joseph Fung: Wai Yin Association – A Mega Family
Veteran photographic artist and educator Joseph Fung photographed members of the charity organisation Wai Yin Association, with a special focus on two former presidents. With 40 years of philanthropic legacy, the association and each of its members have demonstrated unwavering commitment to supporting Hong Kong’s most respected charitable organisations. The association firmly believes that private and public sectors can successfully work together for the greater good of society. Their shared ideal of “making a difference for a better tomorrow” positions them as pioneers and inspirations for social responsibility within the Hong Kong community, aligning with the idea of “Mega Family” and the concept of home.

Justin Hui: Searching for Poon
In the work Searching for Poon, artist and architect Justin Hui reconstructs his grandmother’s journey from mainland China to Hong Kong through a collection of her images, weaving together fragments of her life. As her memory gradually fades, Hui becomes the architect of her memories.

Lau Chi Chung: The Dayspring of Eternity: May the dreamy nightfall stay forever…
Lau Chi Chung, a visual artist and collector of old textbooks, is fascinated by stories relating to Hong Kong’s history and vernacular culture. For this exhibition, Lau visualises memories of the district of North Point from the 1940s and 1950s. The district saw the settling of Shanghainese and Fujianese immigrants, who brought with them their wealth, lifestyles, and cultural visions, turning North Point into a vibrant neighbourhood. Through images depicting the area’s past, such as amusement parks, the State Theatre, and metal gates of residents’ homes, the artist metaphorically illustrates that Eternity does not exist.

Jimmy Lee:︰￭﹞(Laughter carries the warmth we share now)
Inspired by the theme song ‘No Regrets Loving You in This Life’ from the TV series A Kindred Spirit, this body of work reframes the viewer’s gaze from directly within the eye itself. Capturing the landscapes of Hong Kong as projected onto the retinas of its people, artist Jimmy Lee reinterprets the facade of Hong Kong through the concept of imagined and real imagery.

Kevin Ling: Wash Out
Kevin Ling’s practice encompasses various media, including land art, sculpture, video, and installation. In the work Wash Out, the artist likens the land to a canvas, where the traces accumulated on old ground resemble ink slowly left by time. This transforms the ground beneath his feet into a vast canvas soaked with ink. Using water as a medium, the artist washes away the traces on the surface, leaving blank spaces while simultaneously redefining the ground with a new painting.

Thomas Lin: Sunshine of Yesterday
Thomas Lin’s art is rooted in his interest in historical narratives and photography. His works showcased in this exhibition are inspired by the period around 1839, marking two significant historical crossroads: the invention of photography and the birth of Hong Kong. Amid a vast ocean of data, Lin draws on fragments from the puzzle of history to uncover insights within collective ideas. He then lets these insights “reappear” by giving them forms that coincide with that time, blending contemporary technologies with the earliest photographic techniques.

So Hing Keung: Reappearance of Buddha’s Light
As he grows older, photographer So Hing Kueng finds himself gazing at Hong Kong through a lens clouded by time, where the essence of his birthplace becomes increasingly elusive. In light of the many changes the city has undergone over the years, he has decided to embark on an introspective journey to relearn and rediscover his hometown. Through a series of photographic works capturing various scenes of Hong Kong, So hopes to express his emotions and perspectives about his home today.

Wong Chi Lam: 20422 Kilometres
Wong Chilam is a photographer from Hong Kong who is currently pursuing a master’s degree in art psychotherapy in the UK. Her works centre on the home and family of her partner, Arthur, who comes from a multicultural background, exploring the complex relationship between home and identity. She describes home as an expanding and moving circle, where the centre of the circle represented her entirety during her childhood. As she grew up and stepped out along the continuously extending diameter, she began to incorporate various elements into her concept of “home”. In her series, Wong reflects on the overlap of two circles—her home and Arthur’s home—contemplating whether this connection, in the context of different cultures and backgrounds, makes home feel more complete or distances them further apart. Each homecoming signifies a farewell to another home. The process of seeking home is both a healing journey and an exploration and reflection on one’s own sense of loss.

Paul Yeung: Parade
A former photojournalist and photo editor, Paul Yeung has captured the vibrant, ever-changing hues of city life and the motion of the parading crowds in his photographic series. Photography offers the rare gift of capturing this ‘this-has-been’ moment, preserving it briefly before it fades into the past.

Yu Ho Yeung: Eagle Hunters of the Altai Mountains
Freelance photographer Yu Ho Yeung’s works showcase the traditional nomadic lifestyle of the Kazakhs and their unique culture of eagle hunting. Today, there are only two to three hundred eagle hunters in the world, and their skills, passed down through generations, are now facing sharp generational differences in expectations towards life. Through depicting the lives of the hunters, the photographer prompts viewers to reflect on their own roots and culture, as well as the transformations of home and the new generation’s visions for the future.

Vincent Yu: 21 Days
Born and raised in Hong Kong, Vincent Yu has worked as a photojournalist covering major news events across the Asia–Pacific region since 1985. As a professional photojournalist and a close observer of the city’s development, he has acquired a special sensitivity towards capturing moments and opportunities. During the pandemic in 2021, he returned to Hong Kong with his daughter from abroad and underwent a three-week hotel quarantine. It became the longest period he had ever spent alone with his daughter, which turned into a magical journey together. He decided to document this unique experience with his camera. The experience altered his concept of “home” in Hong Kong.

Collateral Programmes
This summer, HKIPF collaborated with these 15 photographers to produce 15 videos set against the backdrop of Victoria Harbour and the iconic Star Ferry, documenting the interaction between the photographers and the harbour. On the swaying ferry, the photographers captured the scenery along both sides of the harbour, contemplating the meaning of “home”. From historically significant landmarks like Hong Kong Cultural Centre and the Clock Tower to the imposing skyscrapers, planes soaring overhead, and sailors quietly pulling the ferry back to the dock, each frame tells a story of the city. As the sounds of the ferry’s horn blend with the crashing waves and the chatter of the crowds, the photographers quietly emerge at the bustling pier, as if reminding us that this is where lives converge. The trailer has been uploaded to HKIPF’s YouTube channel (click here to watch).

In addition to the flagship exhibition, HKIPF 2024 has also curated a series of artist talks aimed at providing visitors with deeper artistic insights. The first talk takes place on 9 November, themed around the exhibition title Mega Family: Imagining Home, featuring artists anothermountainman, Joseph Fung, Jimmy Lee, and So Hing Keung, who will share their interpretations of the theme and the concepts and inspirations behind their works.

Concurrently, a special exhibition, titled Chuen Lung Gruppetto, will be held at Koon Man Space from 16 November, 2024 to 28 February, 2025. Curated by Leon Suen, the exhibition delves into the history and culture of Chuen Lung Village through showcasing a selection of photographs featuring its villagers. The term “gruppetto” refers to a musical ornament characterised by a rhythmic arrangement that follows conventions rather than strict rules, making it a challenging technique to master. Chuen Lung, an ancient Hakka village nestled in the foothills of Hong Kong’s highest mountain, was settled by migrants from Longchuan County in Guangdong some 600 years ago. They transformed the barren land into a thriving village, with its legacy passed down through generations. The photographs displayed in this exhibition are drawn from the personal albums of the villagers, showcasing historic images of life in Chuen Lung. While they may not appear academic or systematic at first glance, they possess an intrinsic quality that, upon closer inspection, subtly reveals the enduring spirit of the village and echoes the essence of gruppetto.

On the day of the opening, Koon Man Space will collaborate with Y Space to present outdoor dance performances at various locations in Chuen Lung. These site-specific performances, accompanied by storytelling from villager Tsang Kim Man and researcher Pak Chai, will showcase the history and narratives of Chuen Lung in a multi-layered format. This opening programme is also part of the i-Dance (HK) Festival 2024 – The Mountain.

Exhibition Details
Hong Kong International Photo Festival 2024
Mega Family: Imagining Home
2024.11.08-12.08
11:00-20:00 (Monday to Sunday)
4-5/F, Pao Galleries, Hong Kong Arts Centre, 2 Harbour Road, Wan Chai, Hong Kong

The Final Episodes of “Simone Biles: Rising” Documentary Now Available on Netflix.

“Simone Biles: Rising” is a Netflix docuseries directed by Katie Walsh.

Following the events in Tokyo, Simone Biles returns to the Olympics: this very year, in 2024, in Paris. At 27 years old, the greatest gymnast of all time is making her way back to the Olympic stage with her sights set on achieving the highest honors: winning it all. The documentary “Simone Biles: Rising” is back with its final two episodes, which chronicle Simone Biles’ triumphant return. Netflix originally released the documentary in two parts: the first segments aired before the Olympic Games, and these final episodes, now available, take us alongside Simone in her day-to-day life. From celebrating her 27th birthday in Houston to competing on the Olympic stage, the series offers a comprehensive look at her journey.

“Simone Biles: Rising” is an intimate and personal documentary that allows viewers to share a fragment of Biles’ life. The series delves into her interactions with her baseball player fiancé, Jonathan Owens, as well as her relationships with her family, coaches, and teammates. Unlike traditional documentaries that focus solely on the Olympic event itself, “Simone Biles: Rising” provides a more personal glimpse into the life of Simone Biles. This approach aligns with Netflix’s recent trend of producing sports documentaries that emphasize personal stories over mere event coverage, which has been well-received by audiences.

Simone Biles: Rising – Netflix

Our Opinion

Do you enjoy gymnastics? Then you absolutely should not miss this documentary; it might be the last opportunity to see this remarkable woman in an Olympic setting. Are you a sports enthusiast? This documentary is also for you. Even if sports aren’t your cup of tea, the personal side of this documentary is worth watching. It highlights a woman who is a national icon, celebrated for her achievements, her resilience, and what she symbolizes to millions who admire and respect her.

We have a particular fondness for these sports documentaries on Netflix, and “Simone Biles: Rising” stands out as something extraordinary. It is not just another sports documentary; it is a special portrayal of a very special woman.

Where to Watch “Simone Biles: Rising”

Netflix

“Hijack ’93” – A Netflix Film: A Thriller Depicting a Nigerian Airways Hijacking

“Hijack ’93” is a Nigerian thriller movie directed by Robert Peters starring Nancy Isime, Sharon Ooja, and Jemima Osunde.

Netflix introduces us to a thriller rich with social commentary: an aircraft hijacked by a group of young men advocating for a democratic and just government. Predictably, the government dismisses their demands, eventually deploying the military to thwart the hijacking. Meanwhile, the so-called terrorists engage with the crew to articulate their demands and shed light on Nigeria’s socially unjust conditions. This is one of those films that, while being a thriller, is imbued with significant social themes.

About the Film

This intriguing Nigerian film not only presents a social conflict but also touches on the perpetual class struggle: injustice, abuse of power, and the like are vividly portrayed. The movie features well-developed characters and confronts the audience with pressing social issues head-on. From a technical standpoint, it is a competent thriller. Despite not being a large-scale production, it maintains a steady pace and manages to stay engaging throughout. The script is intelligent, weaving themes of justice and double standards into the fabric of a suspenseful thriller.

“Hijack ’93” is not laden with high-octane action sequences; there are no extensive chases or gunfights. The film remains true to its essence, focusing on the stark reality of a hijacking. It features realistic characters on both sides of the conflict, showcasing the multifaceted nature of a complex reality.

In summary, “Hijack ’93” succeeds in blending thrilling narrative with profound social commentary, making it an engaging watch that does not shy away from presenting the harsh truths of societal injustice. Enjoy this unique cinematic experience.

Where to Watch “Hijack ’93”

Netflix

“Do Patti” – A Netflix Film: A Complex Tale of Domestic Violence and Twin Sisters

“Do Patti” is an Indian movie starring Kriti Sanon, Kajol, and Shaheer Sheikh. It is directed by Shashanka Chaturvedi.

Netflix has released “Do Patti,” a Bollywood-style drama that delves into the challenging topic of domestic violence in India and the struggles some women face in reporting it. The film, which begins almost like a thriller, evolves into a love story before ultimately transforming into a near-judicial drama centered on the issue of domestic violence, this time focusing on the story of two twin sisters.

Plot Summary

Shailee and Saumya are two very different sisters: one is outgoing and wild, while the other is reserved and introspective. When Dhruv Sood enters their lives, the two sisters grow apart because he chooses the wild and party-loving sister. However, nothing is as it seems, and Dhruv’s charm soon reveals a very different side.

About the Film

Although it is not a major production, “Do Patti” possesses that Bollywood touch that appeals to many: even in a drama like this, there are concessions to popular cinema, and it never neglects entertainment and sentimentality. In the hands of another filmmaker or if it were a European film, the story would have likely been more realistic, harsher, and less saccharine. However, “Do Patti” opts to obscure the more bitter and realistic aspects, choosing instead to tell a difficult story in a commercial and entertaining manner.

Let’s be honest, the film struck us as somewhat inconsistent in its approach and narrative, constantly shifting genres, which results in a rather jarring mix. Whether this approach is successful or not is for the audience to decide. Nonetheless, it certainly stands out in its commercial approach to a dark, difficult, and socially complex subject like domestic violence. The film presents a unique angle on tackling such a grim topic while still aiming to entertain.

Where to Watch “Do Patti”

Netflix

“Hellbound” Returns to Netflix for Its Second Season

“Hellbound” is a South Korean series starring Yoo Ah-in, Kim Hyun-joo, and Kim Shin-rock. It is created by Yeon Sang-ho.

The series “Hellbound” transports viewers to a highly effective dystopia where hell exists, and beings from another dimension announce their arrival to take the souls of sinners to hell. It’s reminiscent of Dante Alighieri’s vision but set in South Korea.

Given such a dire scenario, it is understandable that people lose control, forming large factions that claim to possess the ultimate truth. These factions, each with their differences, clash with one another while the government strives to maintain some semblance of balance to keep the population under control. This unfolds in an atmosphere of evident religiosity and anarchy.

About the Series

The second season of “Hellbound” delves deeper into social dynamics rather than fantastical elements. The unfolding narrative focuses precisely on the political climate generated by the two opposing factions, their prophets, and a new announcement from the otherworldly creatures. “Hellbound” is a series that is both chaotic and compelling. While it features impressive scenes involving the monsters, its strength lies in capturing the chaos of crowds running frantically in all directions.

“Hellbound” explores the possibility of changing contexts, embedding the fantastical within the mundane, and aims to tell a story where the setting is not fantastical. It takes on the challenge of presenting a paranormal premise in a realistic context.

Our Opinion

Is this second installment on par with the first? Three years have passed since the premiere of the initial season, and that once-surprising premise has lost some of its impact. However, it still retains a significant degree of power. This second season is chaotic yet fascinating, with a narrative and context that is more politically charged than the first season.

Where to Watch “Hellbound”

Netflix