“Till the End of the Night” opens with what initially seems a Brechtian flourish: a nifty time-lapse shot of a bare shell of an apartment being painted, fitted, decorated and accessorized to an apparently lived-in state, as a vintage German torch song by Heidi Brühl crackles over the soundtrack. It’s not a film set being dressed, however, but a police one — the home base for an elaborate undercover investigation. It’s not the first time Christoph Hochhäusler’s romantic detective thriller will hint at subversive ambitions that turn out, upon closer investigation, to be rather conventional. Tossing a fraught transgender love story in the middle of an otherwise standard cop procedural, the film doesn’t much satisfy on either level, with superficial sexual politics and slack suspense. Despite a Berlinale competition slot, prospects beyond home turf appear limited.
What interest and ambiguity “Till the End of the Night” does...
What interest and ambiguity “Till the End of the Night” does...
- 2/25/2023
- by Guy Lodge
- Variety Film + TV
For a film that hinges on deceptions, betrayals and unexpected allegiances, Till the End of the Night is alarmingly low on intrigue. Christoph Hochhäusler’s crime drama revolves around an undercover cop paired with a trans woman on early prison release to infiltrate an online drug distribution network, their smokescreen relationship tested by his lingering feelings for the person she was before transitioning. That would seem to provide a promising foundation to explore the tricky lines of gender identity and the twisty byways of love. But this unpersuasive mishmash of melodrama and suspense never builds any steam, meaning it doesn’t work in either mode.
Hochhäusler comes from the Berlin School, the new German cinema movement of the mid-1990s and early 2000s that spawned arthouse directors including Christian Petzold and Angela Schanelec, both of whom also have new films in the Berlinale’s main competition this year. The filmmakers...
Hochhäusler comes from the Berlin School, the new German cinema movement of the mid-1990s and early 2000s that spawned arthouse directors including Christian Petzold and Angela Schanelec, both of whom also have new films in the Berlinale’s main competition this year. The filmmakers...
- 2/24/2023
- by David Rooney
- The Hollywood Reporter - Movie News
We Might As Well Be Dead Review — We Might As Well Be Dead (2022) Film Review from the 21st Annual Tribeca Film Festival, a movie directed by Natalia Sinelnikova, written by Viktor Gallandi and Natalia Sinelnikova, and starring Ioana Iacob, Pola Geiger, Jörg Schüttauf, Siir Iloglu, Susanne Wuest, Knut Berger, Moritz [...]
Continue reading: Film Review: We Might As Well Be Dead: Comment on Tribalism Shows More Than It Tells [Tribeca 2022]...
Continue reading: Film Review: We Might As Well Be Dead: Comment on Tribalism Shows More Than It Tells [Tribeca 2022]...
- 6/15/2022
- by David McDonald
- Film-Book
Natalia Sinelnikova, a rising writer-director who emigrated from St. Petersburg to Germany as a child, is exploring the disrupting force of fear through her critically acclaimed feature debut “We Might as Well Be Dead.”
The film, which world premiered at the Berlinale and is having its North American premiere at Tribeca, is both a dystopian and tragicomic satire taking place in a high-rise, secluded building which harbors a carefully-curated community in a world that has fallen apart. The movie follows Anna, who works as a security officer for the building and lives there with her daughter. When a dog disappears, the picture-perfect world of the community derails and turns into chaos, leading to irrational fears, mistrust and cruelty. The movie is represented in international market by Fortissimo Films.
Sinelnikova spoke to Variety about what drove her to write “We Might as Well Be Dead” and the underlying themes of this timely allegory.
The film, which world premiered at the Berlinale and is having its North American premiere at Tribeca, is both a dystopian and tragicomic satire taking place in a high-rise, secluded building which harbors a carefully-curated community in a world that has fallen apart. The movie follows Anna, who works as a security officer for the building and lives there with her daughter. When a dog disappears, the picture-perfect world of the community derails and turns into chaos, leading to irrational fears, mistrust and cruelty. The movie is represented in international market by Fortissimo Films.
Sinelnikova spoke to Variety about what drove her to write “We Might as Well Be Dead” and the underlying themes of this timely allegory.
- 6/15/2022
- by Elsa Keslassy
- Variety Film + TV
The satire opens Perspective Deutsches Kino.
Amsterdam-based sales outfit Fortissimo Films has acquired international rights to We Might As Well Be Dead, a social satire and debut feature from St Petersburg-born and Germany-raised director Natalia Sinelnikova.
The title will world premiere at next month’s Berlinale, opening Perspective Deutsches Kino – the sidebar dedicated to German films. Sales will be launched at the European Film Market.
The film is set in a high-rise building at the edge of a forest, where the inhabitants have been carefully selected to form a safe and secure utopia. When a dog disappears, the utopia is disrupted.
Amsterdam-based sales outfit Fortissimo Films has acquired international rights to We Might As Well Be Dead, a social satire and debut feature from St Petersburg-born and Germany-raised director Natalia Sinelnikova.
The title will world premiere at next month’s Berlinale, opening Perspective Deutsches Kino – the sidebar dedicated to German films. Sales will be launched at the European Film Market.
The film is set in a high-rise building at the edge of a forest, where the inhabitants have been carefully selected to form a safe and secure utopia. When a dog disappears, the utopia is disrupted.
- 1/18/2022
- by Mona Tabbara
- ScreenDaily
"We're not there yet, but at least we're free." "Settling for 'good enough' won't change the world..." The Match Factory has debuted an official promo trailer for the German film Dear Thomas, from filmmaker Andreas Kleinert. This black & white biopic is about a German "poetic rebel" named Thomas Brasch, and it just won Best Film playing at the 2021 Tallinn Black Nights Film Festival earlier this month. "Rebel. Poet. Revolutionary: Dear Thomas is a declaration of love to the writer Thomas Brasch." The film tells the story of the writer and artist Thomas Brasch, who escapes the constraints of the Gdr in the 1970s by setting out for the West, but does not find fulfillment there either. The expressive imagery and the phenomenal ensemble with an unleashed Albrecht Schuch in the title role make this artist''s biography a cinematic masterpiece. The cast includes Jella Haase, Ioana Iacob, Jörg Schüttauf, Anja Schneider,...
- 11/29/2021
- by Alex Billington
- firstshowing.net
History is a fanged presence in Romanian director Radu Jude’s recent films. Since 2015’s “Aferim!,” in both fiction and nonfiction formats, culminating in the heady tangle of the two approaches that was 2018’s remarkable “I Do Not Care If We Go Down In History As Barbarians,” Jude has interrogated various incidents and epochs in his country’s past, with particularly withering reference to the fog of selective national forgetfulness in which a complicit society can shroud its collective sins.
Berlin title “Uppercase Print” certainly continues this course, projecting those concerns onto the oppressive nature of life in the Ceausescu-blighted early 1980s. But while the film feels closest in kinship to “Barbarians” and dances with similar ideas involving theatricality, re-creation and everyday propaganda (here represented by a fascinating array of clips from contemporary television shows and advertisements culled from Jude’s impressively exhaustive ongoing trawl through the National Television Archives...
Berlin title “Uppercase Print” certainly continues this course, projecting those concerns onto the oppressive nature of life in the Ceausescu-blighted early 1980s. But while the film feels closest in kinship to “Barbarians” and dances with similar ideas involving theatricality, re-creation and everyday propaganda (here represented by a fascinating array of clips from contemporary television shows and advertisements culled from Jude’s impressively exhaustive ongoing trawl through the National Television Archives...
- 2/22/2020
- by Jessica Kiang
- Variety Film + TV
Best Friend Forever boards sales on Radu Jude’s Berlinale Forum title ‘Uppercase Print’ (exclusive)
Feature tells true story of student arrested by Communist Romania’s secret services after challenging regime of dictator Nicolae Ceausescu.
Brussels-based sales company Best Friend Forever (Bff) has boarded world sales on Romanian director Radu Jude’s new political drama Uppercase Print ahead of its world premiere in the Berlinale’s Forum section.
An adaptation of 2013 play Typographic Capital Letters by Romanian playwright Gianina Carbunariu, it tells the true story of high school student Mugur Călinescu who was arrested in the early 1980s by Romania’s secret police agency, or Securitate, for graffiti criticising the regime of communist dictator Nicolae Ceausescu.
Brussels-based sales company Best Friend Forever (Bff) has boarded world sales on Romanian director Radu Jude’s new political drama Uppercase Print ahead of its world premiere in the Berlinale’s Forum section.
An adaptation of 2013 play Typographic Capital Letters by Romanian playwright Gianina Carbunariu, it tells the true story of high school student Mugur Călinescu who was arrested in the early 1980s by Romania’s secret police agency, or Securitate, for graffiti criticising the regime of communist dictator Nicolae Ceausescu.
- 1/21/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
Producer Ada Solomon, whose credits include Cãlin Peter Netzer’s Berlin Golden Bear winner “Child’s Pose,” Radu Jude’s Berlin Silver Bear winner “Aferim!” and Maren Ade’s Oscar-nominated “Toni Erdmann,” has announced new projects from Jude and Ivana Mladenovic, whose debut feature “Soldiers. Story from Ferentari” premiered in Toronto in 2017.
Jude’s “Uppercase Print” (pictured) is an adaptation of a documentary play by Gianina Cărbunariu that interweaves two narrative strands. One is the true story of Mugur Călinescu, a Romanian teenager who wrote graffiti messages of protest against the regime of dictator Nicolae Ceaușescu and was subsequently apprehended, interrogated, and ultimately crushed by the secret police. The other story uses archival footage from the public broadcaster to depict everyday life in Romania in the 1980s.
Solomon said the film will celebrate the “unknown heroes of the Communist era,” using a cinematic method to reveal the brutal mechanisms of repression by juxtaposing “secret vs.
Jude’s “Uppercase Print” (pictured) is an adaptation of a documentary play by Gianina Cărbunariu that interweaves two narrative strands. One is the true story of Mugur Călinescu, a Romanian teenager who wrote graffiti messages of protest against the regime of dictator Nicolae Ceaușescu and was subsequently apprehended, interrogated, and ultimately crushed by the secret police. The other story uses archival footage from the public broadcaster to depict everyday life in Romania in the 1980s.
Solomon said the film will celebrate the “unknown heroes of the Communist era,” using a cinematic method to reveal the brutal mechanisms of repression by juxtaposing “secret vs.
- 5/31/2019
- by Christopher Vourlias
- Variety Film + TV
At just around midnight in the capital of Romania, film producer Ada Solomon got a call that threatened the life of her entire movie. Her docu-drama depicting a reenactment of one of the worst atrocities in Romania’s history was going to be shut down by the town’s vice mayor. And there was nothing she could do to stop it.
“I had, for one hour and a half, in the middle of [Revolution Square], the most horrible discussion I ever had in my life,” Solomon told TheWrap’s Steve Pond at a Q&A on Thursday following a screening of “I Do Not Care If We Go Down In History as Barbarians,” a film about the 1941 mass murder of tens of thousands of Jews on the Eastern Front by Romanian forces.
“Barbarians,” Romania’s entry into the Oscar foreign film race, follows theater director Mariana (Ioana Iacob) as she prepares a...
“I had, for one hour and a half, in the middle of [Revolution Square], the most horrible discussion I ever had in my life,” Solomon told TheWrap’s Steve Pond at a Q&A on Thursday following a screening of “I Do Not Care If We Go Down In History as Barbarians,” a film about the 1941 mass murder of tens of thousands of Jews on the Eastern Front by Romanian forces.
“Barbarians,” Romania’s entry into the Oscar foreign film race, follows theater director Mariana (Ioana Iacob) as she prepares a...
- 11/16/2018
- by Omar Sanchez
- The Wrap
Screen’s regularly updated list of foreign language Oscar submissions.
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
- 9/3/2018
- by Ben Dalton
- ScreenDaily
Screen’s regularly updated list of foreign language Oscar submissions.
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
- 8/30/2018
- by Ben Dalton
- ScreenDaily
Screen’s regularly updated list of foreign language Oscar submissions.
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
- 8/29/2018
- by Ben Dalton
- ScreenDaily
Screen’s regularly updated list of foreign language Oscar submissions.
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
- 8/28/2018
- by Ben Dalton
- ScreenDaily
Screen’s regularly updated list of foreign language Oscar submissions.
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
- 8/20/2018
- by Ben Dalton
- ScreenDaily
Screen’s regularly updated list of foreign language Oscar submissions.
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
- 8/16/2018
- by Ben Dalton
- ScreenDaily
Screen’s regularly updated list of foreign language Oscar submissions.
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
- 8/7/2018
- by Ben Dalton
- ScreenDaily
Screen’s regularly updated list of foreign language Oscar submissions.
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
Nominations for the 91st Academy Awards are not until Tuesday January 22, but the first submissions for best foreign-language film are now being announced.
Last year saw a record 92 submissions for the award, which were narrowed down to a shortlist of nine. This was cut to five nominees, with Sebastián Lelio’s transgender drama A Fantastic Woman ultimately taking home the gold statue.
Screen’s interview with Mark Johnson, chair of the Academy’s foreign-language film committee, explains the shortlisting process from submission to voting.
Submitted films must be released theatrically...
- 8/3/2018
- by Ben Dalton
- ScreenDaily
Radu Jude’s “I Do Not Care If We Go Down in History as Barbarians” has been chosen as Romania’s entry for the Oscars’ foreign-language film race. The film won the Crystal Globe for best film at the Karlovy Vary Film Festival, Central and Eastern Europe’s leading movie event.
Set in present-day Romania, the film centers on a stage director, played by Ioana Iacob, delivering a riveting performance, who is preparing to stage a historical re-enactment of an episode from the Holocaust: the massacre of tens of thousands of Jews by Romanian troops in Odessa. (The title is an actual quote from a Romanian government minister in 1941.) The director battles against official unease about the allegedly unpatriotic nature of the play, the trivialization of such horrific historical events, and a revival of nationalistic fervor in the country.
Variety critic Jessica Kiang wrote: “Jude’s extraordinary opus can be...
Set in present-day Romania, the film centers on a stage director, played by Ioana Iacob, delivering a riveting performance, who is preparing to stage a historical re-enactment of an episode from the Holocaust: the massacre of tens of thousands of Jews by Romanian troops in Odessa. (The title is an actual quote from a Romanian government minister in 1941.) The director battles against official unease about the allegedly unpatriotic nature of the play, the trivialization of such horrific historical events, and a revival of nationalistic fervor in the country.
Variety critic Jessica Kiang wrote: “Jude’s extraordinary opus can be...
- 8/2/2018
- by Leo Barraclough
- Variety Film + TV
Radu Jude’s latest film won the Grand Prix - Crystal Globe, whilst Robert Pattinson and Barry Levinson also collected awards.
The 53rd Karlovy Vary International Film Festival (June 29 - July 7) closed today with its annual awards ceremony.
Radu Jude’s latest film “I Do Not Care If We Go Down in History as Barbarians” won the Grand Prix - Crystal Globe, whilst Robert Pattinson and Barry Levinson also collected awards.
Scroll down for full list of winners
“Barbarians” was selected by grand jury comprising Mark Cousins, Zrinka Cvitešić, Marta Donzelli, Zdeněk Holý and Nanouk Leopold. The Crystal Globe comes with $25,000 prize money.
The 53rd Karlovy Vary International Film Festival (June 29 - July 7) closed today with its annual awards ceremony.
Radu Jude’s latest film “I Do Not Care If We Go Down in History as Barbarians” won the Grand Prix - Crystal Globe, whilst Robert Pattinson and Barry Levinson also collected awards.
Scroll down for full list of winners
“Barbarians” was selected by grand jury comprising Mark Cousins, Zrinka Cvitešić, Marta Donzelli, Zdeněk Holý and Nanouk Leopold. The Crystal Globe comes with $25,000 prize money.
- 7/7/2018
- by Orlando Parfitt
- ScreenDaily
Inverted commas withstanding, “I Do Not Care If We Go Down in History as Barbarians” seems like an awfully long and pretentious thing to call a film. Indeed, it might even suggest that something long and pretentious will be awaiting any viewer of Radu Jude’s latest creation but thankfully, in this case at very least, only one of those adjectives is true.
At 140 minutes, Barbarians (as it will be referred to from here) is indeed rather long, especially when considering that one could easily describe it as a drawn-out dialectic on the responsibility of nations to confront whatever atrocities their government and populous committed in the past. So how on earth is Barbarians so funny and compelling? Well, one reason might be that it’s a movie by Radu Jude, a Romanian New Wave filmmaker who has managed to operate just outside the main spotlight of his gilded colleagues,...
At 140 minutes, Barbarians (as it will be referred to from here) is indeed rather long, especially when considering that one could easily describe it as a drawn-out dialectic on the responsibility of nations to confront whatever atrocities their government and populous committed in the past. So how on earth is Barbarians so funny and compelling? Well, one reason might be that it’s a movie by Radu Jude, a Romanian New Wave filmmaker who has managed to operate just outside the main spotlight of his gilded colleagues,...
- 7/5/2018
- by Rory O'Connor
- The Film Stage
To fully deconstruct Romanian director Radu Jude’s meta-on-meta “I Do Not Care If We Go Down in History as Barbarians” (the quote marks are part of the title) would require page upon page of single-spaced footnotes, swathes of Hannah Arendt, a deft repackaging of Walter Benjamin’s “Theses on the Philosophy of History,” and a crash course in Romanian anti-Semitism and the nation’s participation in World War II, amid formal nods to Godard, Straub-Huillet, and Marxist critical theory, while martial music plays in the background. Clocking in at an unwieldy 140 minutes, Jude’s extraordinary opus can be overly didactic and unapologetically intellectual at times, but it is also startling —a provocative, sarcastic, and momentous act of interrogation between the past and the present that escalates to an impasse, with the hands of each locked around the neck of the other.
In a military museum, in front of a...
In a military museum, in front of a...
- 7/2/2018
- by Jessica Kiang
- Variety Film + TV
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