Martin Velev

Martin Velev

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At the Venice film festival.

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  • Nomadland

    Nomadland

    ★★★½

    77. Mostra - La Biennale di Venezia

    Film historian Robert Rosenstone claims that any story, whatever its origin, embodies an assembly of chain events organised in a plot. Put differently; a story can exist only when the viewer comprehends the narrative’s cause-and-effect links, which the author has logically assembled. Indeed, the naturalistic and unvarnished Nomadland bridges certain events into a causal relationship (e.g. the subplot with Strathairn’s character, which ultimately leads to the climax); however, others occur somewhat randomly, without…

  • Oslo, August 31st

    Oslo, August 31st

    ★★★★★

    This review may contain spoilers. I can handle the truth.

    The film opens with some random settings of Oslo while, through voice-over, random people talk about their happy memories and moments in the city. Being a recovering drug addict, the main character Anders starts visiting these random places, meeting with old and new acquaintances, searching for a source of 'happy' Oslo memories. The people he meets don't have a perfect life - they have an 'okay' marriage, an 'okay' education, 'okay' dreams, jobs and experiences - however, they're living a…

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  • The Break-Up

    The Break-Up

    ★★★

    Kinda gracelessly goes anti-cliché, but the astonishing intelligence in the thematic discussion triggers a 'that-was-not-bad' nod from the viewer.

  • Kiss Me Again

    Kiss Me Again

    ★★½

    With its unjustifiably long running time, this film wronged all the rights of its predecessor.

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  • In My Room

    In My Room

    'What I did during the quarantine' is the most annoying genre ever.

  • Identity Thief

    Identity Thief

    Guinness World Record for most clichés per second confirmed.