They say “you shouldn’t judge a book by its cover,” because you just might be surprised by what’s inside. The content may readily defy observations and expectations in unanticipated ways. And the same, of course, can be said for people, especially those who exhibit traits or behavior that’s outside the mainstream.
At the risk of gross oversimplification, nearly all of the world’s residents can be divided into two camps – those who are only too willing to comply with society’s dictates to keep from rocking the boat and those who insist on being themselves, no matter what, even if that means ruffling some feathers and flaunting their uncontainable individuality. Unfortunately, those who fall into the latter camp are often met with staunch opposition, frequently including efforts aimed at stifling their actions, beliefs and behavior, even for the slightest of deviations from conventional expectations.
Creating and leading a life of fulfillment frequently requires the judicious use of our personal power. That can be challenging in light of what it takes to pull that off. We must be suitably focused yet handle the particulars involved with a deft touch. However, if we fail at that, it’s easy to become frustrated, possibly overpowering our well-intentioned efforts and potentially yielding deleterious side effects, if not outright havoc, that could harm our surroundings or even others.
When everything gets taken away from one’s life, it must be nearly impossible to find something that provides a meaningful reason to carry on. The pervasive sense of hopelessness that sets in makes it difficult to establish a purpose in one’s existence. And so it often is for the incarcerated, individuals faced with an uncertain future of indeterminate duration. Under conditions as difficult as these, realistically speaking, one can’t help but wonder whether even the prospect of rehabilitation will actually pan out as a viable option.
“Touch” (“Snerting”) (2024). Cast:. Egill Ólafsson, Kōki, Pálmi Kormákur, Masahiro Motoki, Yoko Narahashi, Ruth Sheen, Masatoshi Nakamura, Meg Kubota, Tatsuya Tagawa, Charles Nishikawa, Sigurour Ingvarsson, Starkaour Pétursson, Akshay Khanna, Kieran Buckeridge, Benedikt Ellingsen, Maria Ellingsen, Eiji Mihara, Eugene Nomura, Harpa Elísa Ϸórsdóttir (voice). Director: Baltasar Kormákur. Screenplay: Baltasar Kormákur and Ólafur Jóhann Ólafsson. Book: Ólafur Jóhann Ólafsson, Touch (2022). Web site. Trailer. No matter how well life may treat us, almost everyone undergoes a memorable, fulfilling experience that, unfortunately, doesn’t last as long as we thought (or hoped) it would. These scenarios – usually romantic in nature – leave such profound, enduring impressions on us that we can’t shake them when they end, often abruptly and somewhat unceremoniously. We tend [...]
According to playwright David Mamet, “Age and treachery will always beat youth and exuberance.” The kind of wisdom that comes from experience can be tapped and put to use in many ways, particularly when others try to pull the wool over the eyes of those who’ve been around for a while and have had ample opportunity to stockpile such seasoned and shrewd sagacity.
There are times when certain talents don’t receive their due, lingering somewhat below the radar and arguably going undervalued. Fortunately, there are those who recognize their gifts and unhesitatingly sing their praises, bringing a new sense of appreciation to their work. And those testimonials serve to shed a new light on these artists, showcasing them in a way not previously portrayed.
Cautionary tales often have some of the most significant impact when brought to life on the big screen. These pictures generally deliver powerful, troubling, concern-filled messages with a sense of graphic, in-your-face urgency, all aimed at warning us of catastrophes potentially waiting to happen. And, when they reveal the nature of those calamities, they shock us into submission in the hope that we take steps to avoid them before they materialize.
Isn’t it amazing how failures can often lead to unexpected successes? Those missteps frequently have a way of opening meaningful doors, even if it doesn’t seem that way at the time they occur. But how readily aware are we that such developments can occur?
If it’s March, it wouldn’t be complete without the Gene Siskel Film Center Chicago European Union Film Festival. After several years of adjustments, the festival has gone through yet another transformation for its 27th annual edition.
