The cave, quarry, cavern is one of the most widespread symbols in the history of humanity, and Waller does not provide many didascalic indications: we moviegoers grope in the dark as much as the real protagonists immersed in those murky waters. Unlike "High Life" (Denis 2018), it was not necessary to resort to sci-fi to talk about existential black holes and, unlike "The 33" (Riggen 2015), in "The Cave" there are no actors of international fame: since the priority of the Thai government was to limit the approach to the children protagonists, the director chose to focus on the rescue team, in which several divers do not act but interpret themselves managing to convey a strong charge of realism. This has emphasized the metaphysical scope of the affair and raises far from trivial questions: is messianic salvation really found by coming out of the place where we are confined and imprisoned? (Mauro Lanari)

Even a silly love story would be useful to return to address outstanding issues such as the neoprotagorism from wishful thinking to von Foerster's radical constructivism, by his own admission direct child of Fichte's magical idealism. But Tucker's sacrifice for the happiness of others fu*ks everything up. (Mauro Lanari)

Fortunately a far cry from Cuarón's misandry, as the minutes pass "Only" reveals itself as a moving film about euthanasia when life is degraded to mere survival. (Mauro Lanari)

If you're on a ridiculous budget and want to (re)make "Close Encounters," debut with a movie like "The Blair Witch Project", add single theatrical act monologues and fixed or dynamic sequence shots, spend the little money for a unique special effect at the end. Forget about comparisons with Spielberg, Kelly or Nolan, thanks. (Mauro Lanari)

"7000" of Patrick Vollrath in his debut fits into the vein of "Locke" (Knight, 2013), "Beast of Burden" (Ganslandt, 2018), "The Guilty" (Möller, 2018): propagandized as an elegant exercise of style in the footsteps of the most claustrophobic Hitchcock, instead it is an attempt to minimize production costs (this time 5 million dollars) by employing a single location and little more than just one actor, a monologuing one-man show for about an hour and a half. The absolute void with autopilot, "all in all is just another crap in the wall". (Mauro Lanari)