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Pasanga-2 is centred around two hyperactive kids Kavin and Nayana, who are a nightmare to their respective parents. Their non-conforming nature makes them notorious figures for their teachers and principals, who are only too eager to send them off to a different school. Their parents are clueless about what to do with them. They try to rein in their kids' exuberance, seek medical advice, and even send them off to a boarding school, not realising that the key to their change actually lies with them. It is left to Dr Tamil Nadan and his wife Venba, a school teacher who believes in unconventional teaching methods, to make them understand this and unlock the kids' bridled creativity. When Pandiraj gave us Pasanga, it was like a breath of fresh air. It was film that allowed its child leads to be kids but the filmmaking was definitely grown-up, successfully marrying a native story with a contemporary cinematic form. And with Marina, he showed once again that stories centred around children can be turned into good cinema. Pasanga-2 is also about kids but shockingly, the writing is so commonplace and blatantly manipulative. It is also formulaic in the way it goes about narrating its story ticking off every convention in the children's film genre. The cliched scenes turn preachy at the drop of a hat and to make the film feel hip, Pandiraj keeps throwing trendy elements — animated stories, guest appearances, even ghosts! — at us, but they do not add weight to the storyline. The characters are two dimensional and their only role is to keep the plot moving. The actors look the part but their characters are hardly rounded to make us sympathise with their plight. For contrast, we only have to look at the way the bickering couple in Pasanga was written. Here, neither Munishkanth and Vidya Pradeep nor Karthik Kumar and Bindhu Madhavi, convince as people who we could come across in real life. And the characters in Tamil Nadan household come across as something we see in TV commercials with hardly any blemish. Suriya (who reels off his lines as if he is acting in a public service ad) and Amala Paul come across as couple who are always in agreement and have never had a tiff, the kids are improbably sensitive and disciplined, while their grandparents hover in the background to make sympathetic noises. Heck, the family even has moonlight get-togethers on their terrace! Pandiraj's dialogues are, thankfully, still sharp, and if the film feels alive, it is mainly because of these lines and the truth in them, and the optimistic outlook of the film. And he also extracts good performances from his child leads, who have an impish charm that makes them hard to resist. The film will certainly appeal to an undemanding viewer, but given that we are talking about a filmmaker who has set the bar quite high, the failings in the film override its plusses and it is the duty of a discerning viewer to call out on this fact so that he doesn't settle for mediocrity next time.
For generations, two rival French villages, Longueverne and Velrans, have been at war. But this is no ordinary conflict, for the on-going hostilities are between two armies of young schoolboys. When he is beaten by his father for having lost his buttons, the leader of the Longueverne army, Lebrac, has an idea which will give his side the advantage: next time, he and his brave soldiers will go in battle without their clothes...
Ewald moved to Romania years ago. Now in his 40s, he seeks a fresh start. Leaving his girlfriend, he moves to the hinterland. With young boys from the area, he transforms a decaying school into a fortress. The children enjoy a new, carefree existence. But the distrust of the villagers is soon awoken. And Ewald is forced to confront a truth he has long suppressed. Sparta is the brother film to Rimini (2022), and the conclusion of Ulrich Seidl's diptych about the inescapability of the past and the pain of finding yourself.
Pedro and Felipe are two 11-year-old boys who are very different but fall in love with each other. However, they will have to face prejudice and their own insecurities to be together.
In a dark, velvety theatre, there is a first kiss between Pietro and Tommaso. When the lights come back on, however, the two students have different expectations of what might follow. The chaos of awakening desire in its complexity and sensuality is told and made almost physically tangible through looks and gestures, approach and retreat, hope and fear.
After learning that a boy their age has been accidentally killed near their rural homes, four Oregon boys decide to go see the body. On the way, Gordie, Vern, Chris and Teddy encounter a mean junk man and a marsh full of leeches, as they also learn more about one another and their very different home lives. Just a lark at first, the boys' adventure evolves into a defining event in their lives.
One day during the summer vacation before high school, Lil Fish skips the orientation and wants to hang out with his buddies. Still, to get the junior high diploma, all his friends are cleaning up the campus to remove their demerits. Only Lychee pals around with him in their fishing village, as they always do. Lil Fish thinks such kind of life will never change, but what happens that day makes him realize he and his friends have embarked on a different future.
One of puppet-maker Geppetto's creations comes magically to life. This puppet, Pinocchio, has one major desire and that is to become a real boy someday. In order to accomplish this goal he has to learn to act responsibly. This film shows you the adventures on which he learns valuable lessons.
Chul-soo is a twelve-year-old boy who attends an acting training course. One day, the teacher arranges for him to rehearse a "love confession" scene with the prettiest girl in class, Yeon-hee, but he is unable to perfectly portray the feeling of his heart pounding. However, when his acting counterpart gets replaced with Soo-hyun, a male classmate, Chul-soo realizes that some emotions don't need to be rehearsed...
On Halloween 1997, two estranged teen skaters embark on a surreal journey through their memories, dreams and fears.
Sister Marina, a very unorthodox nun, is sent during the summer of 1994 to El Parral, a boarding school for boys threatened to be closed soon. Even though the kids welcome Marina with all kinds of pranks, they will, little by little, become something very close to the family they never had.
A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of intergenerational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.
