Marie-Jo Fortis

An entertaining competition show with highly creative designers. France's daring style add to the fun while Chung's boring clothes take no risk.

I am flabbergasted by what the pros are writing about what I think is a brilliant movie. What it is not is a frou-frou, frilly film filled with shiny historical costumes, gardens and pretty green trees with picnic spots in between (should you want to rest your corset and your sword on the emerald-colored grass) that will get you nominated for best photography, and may be for best actor for your British-analog elocution. (It is not a Superman, or some cop show that demands more of gun performance than actors’ craft.) The Little Things' photography is stunning but modern, noir and urbane. And sober, as are the dialogues where silences matter as much as words. The plot itself matters less than the study of characters, the atmosphere and the exquisite, slow pacing. At some point you realize you are deep into a Hitchcockian piece of work. Denzel Washington is superb, and not only because he’s a good-looking guy. But my palm would go to director John Lee Hancock for giving predominance to restraint and facial expressions that tell just enough for cops to be as mysterious and as tortured as the crimes they are investigating. If you love psychological thrillers and love Hitchcock, you will know that The Little Things is no small thing.

This is a complex movie that travels between analysis and narrative. The combo of the examination of Hollywood and the story of a falling, with the brilliant cast and the acrobatic, masterly directing, should get an Oscar nomination.

I didn't expect to like The Favourite. But, in the end, I found the film not only exciting, but filled with moments that force us to use reflect on ourselves as women. The film is also filled with beautiful tableaux. In the end, this is a work of art, even a masterpiece.