The concept behind Given Names (Prénoms) is so simple that it’s hard to believe no one has ever done it before. Filmmaker Nurith Aviv showed up at the apartment of various friends of her with a bunch of flowers, and then listened to the friend talk about their first, or given, name. That’s it! It’s the kind of discussion that happens often in real life – just listen to any group of new mothers justify their choices, or any teenager sulk about what this label for their identity means to them – but it’s not often such a chat is captured on film.

It doesn’t work flawlessly, of course: at the Berlinale Ms. Aviv made it clear the movie was originally designed as a kind of art installation, and more reviews than were included were filmed. The opening of the film is also more of a tribute to the late French filmmaker Agnès Varda, who Ms. Aviv had worked with. (Mr. Varda’s original given name was actually Arlette, changed by her when she was a teenager.) But once we are into the direct interviews this hiccup is immediately forgotten as we get a window on some really interesting cultures and how their given names have shaped these very interesting lives.

You learn so much about someone while knowing so little of them, just from the simple story of their name. One of the interviewees was born in secrecy during the Holocaust, left on the doorstep of a Polish family by his Jewish parents where he spent the first years of his life under the name of a dead child of the Polish family. Once he was reclaimed by his parents they did not really change his name, but moving to France and beginning a new life in a new language changed it for him. Other interviewees had parents from different cultures and gave their child a name that with different connotations in each culture. It’s fascinating to hear these considerations be discussed but also how the owner of this name felt about it. One woman has a stutter, so mentions how pleased she is to have a name she can pronounce. She also has a very ordinary name from her birth culture (the Turkish name Zeynep), because her mother had a embarrassing first name that her own parents made up, and was therefore adamant her own children would not have the same problem. Some people have had different names through different stages of their lives, while others have had names for different purposes. Some have had the same name the whole way through and never liked it, others like their name so much they write poems about it. There’s a whole spectrum of humanity and history on display here through just one simple question.

The interviews were clearly rehearsed but they were not a dialogue. Instead Ms. Aviv filmed them talking directly to the camera, sharing these intimate details about this gift they were given and how that’s affected them like we’re chatting over a coffee. All the interviews were conducted in Paris and in the French language, but even amongst that there’s a global reach among the people here that is both very ordinary and highly unusual. Some people have received prejudicial treatment based on their names while others have had no problem at all. In France names are taken seriously for an additional reason: the spelling of names is legally standardised. Some people are pleased by the simplicity, while other people (or their parents) rebel. A cultural side effect is that it’s therefore not unusual for the name on your birth certificate to be used only in government contexts, while your true name is used everywhere else.

American audiences find such interference laughable, of course, but in other ways American discourse around baby names has shaped the way people around the world think about their choices. Just think how ordinary names like Luna or Lea, Liam or Luca are in preschools around the world right now. These short, easy-to-spell names travel across different cultures in ways which names like that of this movie’s editors, Nurith and Hippolyte, might not. Given Names is a fascination exploration of a cultural issue we more normally take for granted, and I am not just saying that because one of the interviewees is also named Sarah. Our given names are who we are but also who our parents thought we might be, and that’s not necessarily who we become. Hearing people discuss their feelings about this is entrancing indeed.

Given Names (Prénoms) recently played at the Berlin International Film Festival.

Learn more about the film at the IMDB site for the title.

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The first half of Gabriel Mascaro’s latest movie, The Blue Trail, is filled with immense sadness. It imagines a dystopian Brazil in which its fascist government built colonies for elderly people to live in and forces them to relocate, despite the fact that many of them are still able to contribute to society. One of those people is Tereza (Denise Weinberg), who has recently learned that the government has lowered the age threshold from 80 to 75, in an attempt to relocate more elderly citizens to spend the rest of their lives in.

Of course, still able-bodied and wanting to continue her daily routine, Tereza rejects the government’s interventions and leaves her home, determined to fulfill a lifelong dream: to fly in a plane. Throughout her journey, she meets a bevy of colorful individuals, including ship captain Cadu (Rodrigo Santoro), who takes her deep into the Amazon and literally opens her eyes to things she never saw in her plane of existence.

Describing the viewing experience one takes in trusting Mascaro’s vision is a little difficult. The Blue Trail offers a clear-eyed view of how the filmmaker believes society treats elderly individuals, even though they will reach that age at some point. Mandatory diapers on bus rides. Colonies for them to live and never be allowed to contribute to society. The fact that they think little of them and believe they’re disposable, without understanding their impact on the world, says so much about how governments around the world have constantly mistreated them and continue to fail to truly care for their well-being.

Watching Tereza being forced to wear a diaper before boarding a bus, one feels the filmmaker’s frustration in their eyes. In that moment, the protagonist feels helpless. All she wants is to return home and, hopefully, fly. Since she isn’t allowed to go anywhere, her only shot at adventure is a boat ride. These sections see Mascaro’s filmmaking at its most visually audacious, with painterly tableaux that recall the staggering grandeur of Werner Herzog’s Fitzcarraldo. There’s something so majestic when seeing a camera float in the water, as if it acts as the boat itself, as the captain and Tereza explore the Amazon. The feeling one gets when a firework appears in the air is so textured that the film becomes hard to look away from, even as it begins to sag in its second half.

While the bulk of The Blue Trail seems to follow a conventional path, Mascaro begins to take the esoteric route when he has Cadu trip balls on blue snail drool, which may or may not be a direct visual reference to Frank Herbert’s Dune? Either way, a scene like this arrives on left field and completely repurposes the rest of the movie, which takes a strangely spiritual route that seems poised to fleetingly say something about society’s mistreatment of the elderly and Tereza’s close connection with scripture, but ends up saying nothing at all. As her journey continues, the film’s images become less impressive, and our initial connection with a funny and biting protagonist begins to falter, because Mascaro and cinematographer Guillermo Garza frame her on a much smaller scale than in the first half.

That said, Weinberg remains an effective actor and imbues her performance as Tereza with a pain she’s been carrying for decades. It further exacerbates itself by the way society rejects her altogether, even her own daughter, who prefers she live in a colony so no one has to worry about caring for her needs. But the movie works the strongest when it focuses on the adventure and Tereza’s quest to do something worth her while, for once, rather than scenes where Mascaro attempts to interiorize her.

Still, out of all the films in competition at last year’s Berlinale, The Blue Trail is one of the most engrossing and rewarding titles that graced their screens. It may not work for everyone, but its images are so potent that one leaves the cinema with a sense of renewal, and perhaps some hope that society might improve if we let the elderly decide, on their own, how they would like to spend the rest of their lives, at home or elsewhere. We should give them the privilege of doing so, because that’s what they deserve.

SCORE: ★★★

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We went to see Mortal Kombat II in theaters and wow do we have thoughts about it.

*warning: minor spoilers below for Mortal Kombat II

I’ll freely admit that I was excited to see the sequel to Mortal Kombat (2021). That movie was pure dumb fun from start to finish, and most agreed that as long as a sequel kept that same tone, it would likely be equally fun to watch.

Well…I have good news and bad news.

The good news is: Mortal Kombat II is indeed filled with a lot of dumb fun.

The bad news: the parts that aren’t dumb fun are really, really bad and awkward.

Mortal Kombat II 

Directed by: Simon McQuoid

Starring: Karl Urban, Adeline Rudolph, Jessica McNamee, Josh Lawson, Ludi Lin, Mehcad Brooks

Release Date: May 8, 2026

Mortal Kombat II is set up sometime after the events of the 2021 film, with the evil Shao Kahn set to call for the final Mortal Kombat tournament that will decide the fate of Earthrealm, as one more defeat means Shao Kahn and Outworld will gain total control. Lord Raiden, meanwhile, is in search of the last champion Earthrealm needs to compete in the tournament and has just located him: Johnny Cage, a washed up actor and martial artist who is way past his prime and very cynical about everything.

Let me just start by saying that as much fun as this film is for the most part, Mortal Kombat II could’ve been so much better. The 2021 film proved that it’s possible. Tell a coherent plot, throw in a heavy amount of fighting scenes that pay homage to the video games, and you really can’t go wrong.

Where Mortal Kombat II fails, for the most part, is in trying to tell a coherent plot. Whereas the first film took the time to introduce us to Cole Young and his struggles, this film barely introduces Johnny Cage before we are tossed headlong into the tournament portion of the story. It genuinely felt like about an hour of exposition was missing, exposition that could have better rounded out Johnny’s character and how he feels about being suddenly responsible for the fate of Earthrealm. There are hints of some of these things, but it always feels like something is missing.

Speaking of Cole Young, this sequel, to put it bluntly, did him dirty. Given his suspicious absence from most of the promo materials, it was heavily suspected Cole’s story was not going to end well, but for goodness’ sake it didn’t have to go like that. I genuinely liked Cole by the end of the 2021 film and here he was barely more than a glorified extra. I don’t know what the film writers were thinking, but treating the main protagonist of the previous film in this way is not a good look.

Then there’s the downright uneven tone of the story. The portions with Shao Kahn are, quite rightly, dark and deadly serious. Shao Kahn is set up as an absolute monster and you feel that every second he’s on the screen. But the problem is the film will cut from a moment of brutality to a moment of awkward humor that feels very out of place. Most of these come from Josh Lawson, who is back as Kano in a manner that could’ve been epic but feels like it was thrown together just because the writers could.

I’m not saying a Mortal Kombat film can’t be funny or have moments that are funny, but the humor here just felt…off…or just downright awkward.

It wasn’t all bad. Mortal Kombat II had a number of things that were done right and kept this film from being a complete disaster. The most important of these were, as you might expect, the fighting scenes. As in the prior film, Mortal Kombat II paid homage to the video game with a number of combat scenes that felt like they came right out of the video game, right down to the way the camera panned around to show the two combatants squaring up to each other.

All of the fight scenes were great, but my two favorites had to be the scenes with Kitana and Shao Kahn respectively. Shao Kahn, as mentioned before, is set up as this terrifying being whose evil knows no bounds. He feels like he stepped right out of the video game and I couldn’t have asked for a better interpretation.

I’m equally thrilled with how Kitana’s story is presented. Kitana has been my favorite Mortal Kombat character for years and Adeline Rudolph plays her to perfection. The film made sure to give Kitana her iconic fan weapons and I love how they were used. Forgive the minor spoiler but those fans are responsible for some of the most brutal deaths in the film.

At the end of the day, you’ll likely leave the theater feeling entertained by Mortal Kombat II. The fight scenes alone are worth the price of admission, and Kitana’s story is very well told. Just…don’t think too hard about the rest of it.