Category Archives: 2014

Force Majeure (2014)

Ruben Östlund’s fourth feature film is set in a luxury ski resort in the French Alps where a young bourgeois, picture-perfect Swedish family’s spending their much needed vacation. Father Tomas (Johannes Kuhnke), a handsome and busy businessman, mother Ebba (Lisa Loven Kongsli) who could easily be a supermodel and their beautiful, enthusiastic and somewhat spoiled children (Clara and Vincent Wettergren) seem like a perfect family that’s spending their quality time together and making memories while posing for a resort photographer. They’re rich, they’re beautiful, they’re happy – what could possibly ever go wrong for them?

This is until a controlled avalanche is triggered on the mountainside while they’re eating lunch in a crowded outdoor restaurant – and while everything seems fascinating and exciting at first, a perfect place to be to take pictures and making videos, the cloud of snow just keeps expanding, until some of it actually reaches the patio. People suddenly panic and start to run for their lives – including Tomas, who instinctively grabs his phone and runs away, leaving his wife and children behind. Everything turns out to be okay in the end – but not for our perfect little family, and especially not for Tomas, whose life suddenly turns upside down. In that split second the façade of their perfect family cracks wide open and what follows is an intense and skilfully executed family thriller (with a hint of dark humour) that would make Michael Haneke proud.

Ebba, who in a moment of crisis tried to protect her children instead of saving her own life, can’t seem to understand her husband’s reaction. How could he be so selfish, how could he just leave them there when he – a man – should be the one to take care of them, to protect them? How could he be so weak, so cowardly?

After the incident Ebba teases him about him running away in front of another couple (not even remotely innocently, but with a fair share of resentment towards his action), but things get even more complicated when Tomas denies that any of this actually happened. This starts Ebba’s passive-aggressive battle towards her husband, since she’s determined to get him to admit the truth, which puts their marriage in a major crisis.

But what Ebba (and most of the film’s audience, I believe) can’t seem to comprehend is that it wasn’t Tomas’ (however wrong) instinct, cowardice, selfishness or lack of manhood that turned their idyllic vacation into a hellish nightmare. It were the socially constructed gender roles that are so deeply implemented into our subconscious that we think of them as part of our human nature. And while Ebba embraced her social role as a mother who sacrifices herself for her children, for her family’s safety, Tomas fails to stand up to the role that’s expected from him. As a man of the family, living in a Western, patriarchal society, he should be taking care of his family, he should be brave and protective. So far he excelled in this role, because all he ever needed to do up to this point, was take care of the family financially. But now an instinctive action that happened before he could even think about what’s the right or wrong thing to do, has made him act in an exact opposite way that is expected of a man, a patriarch. His action made him look weak – what he did was the biggest embarrassment that could happen to him, because he failed not only as a husband or a father, but as a man. He may not show it at first (and this is what drives Ebba so crazy), but he couldn’t be more ashamed of himself. Anyhow, admitting to his action would mean admitting to his inadequacy. And Ebba, who tries to turn herself into the ultimate victim, can’t see that he’s no less of a victim in this situation as her – how we actually all are, because we all need to act a certain way, depending on our gender, to be accepted into the society. There is this one scene that may seem a little off and unrelated to the events at first, when Tomas gets locked out of their hotel room and goes searching for his family. At one point he finds himself in a club, in the middle of what seems to be a crazy tourist (or perhaps even a bachelor’s) party, full of drunk alpha-males – and he couldn’t seem more out of place. A few days before he would fit right in – but now he suddenly seems completely lost and confused in their company, as if he’s not man enough anymore to be in the same room with those drunken brutes that are weirdly perceived as “real men” in our society.

Ebba doesn’t stop until he finally breaks down; but his break is quite more literal than she anticipated. With admitting the most shameful act he ever did the wall he put up around him for all this time finally breaks down and what’s left of him is a grown man crying like a baby in a hotel hallway.

Ruben Östlund is one of the few male feminist film writers/directors – and not only that, he acknowledges that feminism applies to both genders, not only to women. When it comes to showing our feelings and emotions or to being compassionate towards one another, men are actually the ones who are not (or rather cannot afford to be, without being called “soft” or accused of being gay) equal to women. Human nature has been separated into two realms from the Ancient Greeks forward, with men dominating the realm of reason and women the realm of nature (which includes human emotions) – and things haven’t changed much since then. With this modern masterpiece Östlund tries to reverse the gender roles, the usual family dynamic. He makes us uncomfortable and frustrated in the process but this is just what he intended: to show us how we, too, will judge a man who abandons his family in a moment of crisis, who later denies his actions and then breaks down crying, because we are so used of seeing a man as a hero who will risk his life not only for his family, but (at least in the movies) for the whole humanity.

I spent a lot of time trying to find sociological studies that I could use to motivate the actions that take place in the film. There were two studies in particular that were very important to me. One showed how much more likely divorces are after an airplane hijacking and points out how couples have a really hard time getting over how they behave in a crisis situation and how a man usually isn’t the hero he’s expected to be. And the other was about surviving maritime catastrophes. From the Titanic to Estonia, you could see that men of a certain age are the ones who survive. I thought that was very interesting when you compare it to film history, where the main character or hero is always a man. This is so commonly reproduced, but when it comes to reality and a crisis situation, the ones that die are women and children. When people say, “I wonder what you would have done,” I can say for certain that a man is more likely to run away than a woman.

This is a perfectly executed drama: the direction, that at times reminds us of Haneke’s style, will make you feel just as trapped as Tomas and Ebba are at some point trapped by their marriage, and the cold visual palette will only add to the uneasy feeling of an expanding distance between the spouses. And that music! I used to play Four Seasons when I was younger and I know the music by heart. But I will never think of Vivaldi’s Summer (ironically used in the middle of winter) the same way again – if playing it used to relax me after practising Bach’s concertos, this music will now forever be associated with the most brilliant, uncomfortable and frustrating family drama I have ever seen.

List of references:

Kelsey, Colleen. 2015. Ruben Östlund’s Force of Nature.

Lucca, Violet. 2014. Interview: Ruben Östlund.

The Basics:
Directed by: Ruben Östlund
Written by: Ruben Östlund
Starring: Johannes Kuhnke, Lisa Loven Kongsli, Kristofer Hivju
Running Time: 120 minutes
Year: 2014
Rating: 9

Little Pieces (2014)

Adam Nelson’s indie feature debut rotates around the lives of two men, Eric and Michael, whose stories don’t seem related at first, but turn out to be more interlinked than we ever dared to imagine. Eric (Matt Jones) is a troubled adolescent whose mother left his family and is now living with his self-destructive, alcoholic father who seems to blame his son for his sad and miserable life. We see how Eric’s life is slowly shattering to pieces, but his father, drunk or unconscious for most of the time, doesn’t seem to notice his struggles. Michael (Finnian Nainby-Luxmore), on the other hand, seems to have his life more together – he’s away at University, studying Business and he just started to see Cheryl (Isabelle Glinn), a charming and compassionate girl with a strong moral compass who’s trying to join the police (a detail I particularly liked – women are rarely seen as career driven, let alone pursuing an occupation that is mainly associated with men). But his long morning runs, where he tries to release the anger that’s bottling up inside of him (or so it seems), his quietness and his occasional violent behaviour make it clear that there’s more to his story and that his identity struggles are probably due his troubling background. As the film progresses, their connection finally gets revealed in a tragic climax, where one of the boys ends up ending his life, leaving the other one in grief, self-blame and in search of revenge.

Little Pieces is an ambitious emotional drama about family, emotional abuse, abandonment and the anger, resentment and vulnerability that comes with it. It unfolds in a non-linear narrative, with constant flashbacks and flash-forwards (starting with the climax and then slowly introducing us to the rest of the story) that leaves us guessing how one scene is connected to the other, trying to put all the little, fractured pieces together (hence the title) through the whole film. The script is well written (although at times a bit too melodramatic), with compelling, three-dimensional characters who are troubled and flawed as any human beings, all pursuing their different life goals and ambitions – from having a career and leaving their old life behind to doing their duty on a job and drinking their problems away. All the lead performances are strong and moving, as is the supporting role of Graham Cawte who could easily portray David as a drunk and abusive father, but manages to give his tortured character depth and complexity.

It’s impressive what can be done with such a small budget and limited time (the film was shot in 18 days), when you have a strong script and a vision of what your film’s message should be. Nelson’s directing also deserves a special mention for his great use of extreme close-ups, feeling for aesthetics and his amazing use of locations. There is this one particularly great scene at the ice rink, probably the film’s most spontaneous (if not even half-improvised), that wonderfully establishes the relationship between Michael and Cheryl without any actual dialogue between the two – it’s all in their body language and in the music score by Imraan Husain that perfectly sums up the atmosphere in every scene of the film.

I am never sure what to expect from indie films – they usually tend to be pretentious and artsy, without any real substance. But Little Pieces is the exact opposite of that and as such a great example of what an indie film is supposed to be: a strong story with an interesting narrative approach and an original use of camera. This is not a perfect film, but it is nevertheless a great indie debut and Adam Nelson’s compelling and unique style in directing certainly shows a lot of talent. The only thing that I would point out as the film’s weakness is the almost all male cast. With the exception of Cheryl that is, indeed, a very well-written female character, all the other characters appearing in the film are male. There’s Eric and Michael, Eric’s alcoholic father, Cheryl’s racist boss, Michael’s teacher and a social worker at Eric’s school; and no female characters to even the balance. But since I liked everything about Cheryl (from her incredible sense of justice, to her subversion of gender stereotyped jobs with her pursuit of joining the police force), this film nonetheless made a great impression on me.

Like their Facebook page if you want to find out more about the film since it is yet to have a premiere on April 15th at the ICA in London.

EDIT: The film has since been released and can be bought at .

The Basics:
Directed by: Adam Nelson
Written by: Adam Nelson
Starring: Finnian Nainby-Luxmore, Matt Jones, Isabelle Glinn
Running Time: 80 minutes
Year: 2014
Rating: 5

Selma (2014)

Selma-David-Oyelowo-Carmen-Ejogo-I’m always a bit sceptical when it comes to biographical dramas. People who, indeed, have done great things in their lives are too often shown as perfect, flawless, almost God-like human beings. But the fact that someone managed to achieve something great, doesn’t necessarily mean they were great in every aspect of their lives. Being human also means being imperfect – and this is where Selma gets it right. Even though this is a film about one of the most important and influential people in the history of USA, director Ava DuVernay manages to show Martin Luther King, Jr. (played by David Oyelowo) as someone who is not only a preacher and a civil rights activist, but also a man with self-doubt and marriage problems. And it’s exactly because of those details that King manages to come across as a truly extraordinary man and not as some distorted, glorified history figure that seems all too good to be true.

This is one of the best biographical films I’ve ever seen that has brought me to tears on numerous occasions, although some may argue that it is not the most historically accurate one, since the right to use King’s real speeches was denied to the filmmakers. But what may very well ended up being a film about Luther delivering his famous speeches, inspiring people all over the USA to push for voter-registration reform, managed to become something much bigger in Ava DuVernay’s hands.This is not so much a film about a certain inspiring individual, as it is a film about a vision and courageousness of the entire African-American population. It focuses on all the people involved in the protests – on the citizens of Selma, Alabama and those who travelled to the South to march from Selma to the state capitol, Montgomery, to protest black disenfranchisement at the polls. Every activist present at the protests was important and deserves recognition, because King did not act alone – he had Tessa-Thompson--Selma_article_story_largepeople who helped him, worked with him, gave him advice, and Ava DuVernay manages to acknowledge that. As Ty Burr beautifully put it: ““Selma” knows we want the story of the icon, but it’s the crowd, and King’s place in it, that surges history forward and gives this movie its lasting power.

However, DuVernay’s portrayal of President Johnson sparkled some controversy. Only a day after Selma‘s limited Christmas opening, former advisor of President Johnson, Joseph A. Califano, published an article in The Washington Post, where he argues that “Selma was, in fact, LBJ’s idea“:

Film falsely portrays President Lyndon B. Johnson as being at odds with Martin Luther King Jr. and even using the FBI to discredit him, as only reluctantly behind the Voting Rights Act of 1965 and as opposed to the Selma march itself. In fact, Selma was LBJ’s idea, he considered the Voting Rights Act his greatest legislative achievement, he viewed King as an essential partner in getting it enacted — and he didn’t use the FBI to disparage him. (Califano 2014)

Of course, how could they ever made a film where African-American population took matters into their own hands and tried to shape their own future? Where is Brad Pitt, who rescues Solomon Northup from slavery in 12 Years a Slave? Where is Emma selmaStone who tries to help African-American maids in The Help? This is quite possibly the first time the African-American minority had the opportunity to tell the history as they see it, from their point of view. As Bailey summed it up:

Johnson does not come off like a civil rights-obstructing monster, but merely as a savvy politician who doesn’t share King’s sense of urgency. A peek at his own voting record indicates that LBJ wasn’t always a friend to the movement; whether his subsequent (laudable!) efforts were the result of an honest change of heart or merely smart politics is a question historians continue to ponder. Selma tends to lean towards the former interpretation, and that’s part of what’s so infuriating about this manufactured furor: that a woman of color gets a chance to tell an important story about civil rights, and she’s critiqued by white sycophants, progressives, and Oscar bloggers for not giving enough credit to the white guy.

And as Ava DuVernay herself explained:

People say that I painted LBJ as a villain, which is not what I was trying to do. Our intention was not to say anything other than that these were two great minds who were in a chess match at times. It wasn’t a skip through the park that they came to this Voting Rights Act. I mean the very fact that these citizens had to walk and march twice unprotected, unassisted; to face state troopers with no federal aid — that was a big point of contention. Yes, the president did come on board eventually; yes, he did eventually order the federal protection; yes, he did pass the Voting Rights Act; yes, there were nuances and challenges as far as what was happening in Washington that made him have to take pause and play a tactical game with timing. But the bottom line is this is what we know in the film: It was a timing issue and King was always saying, “The time is now. The time is not to wait.” This film is not about LBJ. This is a film that’s about the people of Selma and the black leadership of Selma and the allies who came to the aid of black people who were being terrorized in Selma. And one of those allies turned out to be, eventually, LBJ in this particular situation. (Ava DuVernay 2015)

This is an exceptional film about an exceptional historical figure. Director Ava DuVernay (who became the first black female director to earn a Golden Globe nomination for Best Director and who will quite possibly become the first black director nominated for an Oscar) managed to recreate one of the most horrific and brutal events of the 60’s, and with that she created one of the most powerful and heartbreaking films of the past year. The cinematography by Bradford Young (who’s previous work includes Pariah and Ain’t Them Bodies Saints) is breathtaking and the acting is superb. David Oyelowo’s portrayal of Martin Luther King is absolutely outstanding, as is Carmen Ejogo as King’s wife Coretta. But even though the film portrays the events that happened 50 years ago (3 years before King’s assassination), it is hard to overlook how little has changed since then – with the recent shooting of Michael Brown and the suffocation of SELMAEric Garner, King’s battle clearly still hasn’t been won. Far from it. King’s complaint about Alabama being 50% black with only 2% of black population allowed to vote, has curious parallels to modern-day Ferguson, Missouri, with predominantly black population and predominantly white police force. The brutal violence that police meted out against peaceful protesters on Bloody Sunday (March 7, 1965 demonstration) on the Edmund Pettus Bridge also reminds us of the aftermath in Ferguson and Eric Garner grand jury decision. As DuVernay responded on the question about the film being timely: “It’s always going to be timely, because times haven’t changed for us“, to which the cinematographer Young added: “When you think about it that way it’s not about being timely, it’s just highlighting out continuous struggle to be human beings in the world.”  (Yamato 2014)

List of references:

The Basics:
Directed by: Ava DuVernay
Written by: Paul Webb
Starring: David Oyelowo, Carmen Ejogo, Tom Wilkinson, Tim Roth
Running Time: 128 minutes
Year: 2014
Rating: 9

Whiplash (2014)

Whiplash is an intense drama about an aspiring jazz drummer Andrew Neiman (played by Miles Teller) who attends a fictional music school, named Shaffer Conservatory. Barely 19-years old, he is spotted by an infamous, but brilliant conductor Terence Fletcher (outstanding J.K. Simmons) whose jazz band needs a new drum alternate. Andrew manages to get the spot, but what may seem like a dream come true at first, a real breakthrough, soon turns into the worst possible nightmare. Fletcher is egoistic, bad-tempered, devilish and intimidating and his monstrous working methods don’t exclude verbal attacks, psychological torture, slapping and throwing chairs in his student’s heads. His God complex seems to give him a permission to constantly humiliate his entire band – and they have no other option than to suck it all up or quit music forever.

Oh dear God – are you one of those single tear people? You are a worthless pancy-ass who is now weeping and slobbering all over my drumset like a nine year old girl!” Simmons is one of the most mesmerizingly horrifying men cinema has seen in a long time and as Ty Burr brilliantly put it in The Boston Globe: “When Fletcher stops the band and tells a player “That’s not quite my tempo,” it’s the judgment of an Old Testament God.” Fletcher’s uncompromising character is also one of the reasons that Whiplash picked up a nickname “Full Metal Julliard” at last years Sundance Festival (where it won the Grand Jury Prize).

Everything Fletcher does is supposedly done for their own good. He believes that there are no two words in the English language more harmful than “good job” and this is why he’s pushing them to their limits and beyond. But are his students really strong enough to survive this constant pressure? Are they able to withstand the constant humiliation in front of the whole classroom and turn this fear of Fletcher into anger – and finally, anger into music?

Andrew is quiet, introverted and from what it seems, friendless guy, whose only wish is to become a great drummer. But is he determined and tenacious enough to survive Fletcher? We quickly come to realization that he’s much stronger than it may look at first. Although a little awkward and shy around girls and still going to the movies with his dad, he becomes more confident after he gets accepted into Fletcher’s inner circle. During a family dinner with his cousins, there’s no trace of his shyness anymore – he’s become cocky and disrespectful towards other family members who seem to be satisfied with living a mediocre life (“I’d rather die drunk and broke at 34 and have people at dinner table talk about me than live to be rich and sober at 90 and nobody remembered who I was“). If we were afraid at the beginning how Fletcher will eat him alive, it is clear by now that the two actually deserve each other. Fletcher has finally got a student who’s up to the challenge and Andrew (who doesn’t just want to earn Fletcher’s approval, but in some weird way actually wants to become like him) is more than willing to practice until blood splashes all over his drumset. It isn’t long before there’s a war going on between the two narcissistic egomaniacs. Is it possible for the both of them to come out of it alive?

There has been some criticism about how Chazelle “misses the point of jazz”, how he makes it all pain and no fun. But all of us who went to music school know how realistic his portrayal of practising music actually is. Because music is not just about being creative and expressing yourself – it can also be about pushing yourself over the boundaries and practising until nearly passing out. As Chazelle himself explained:

I do believe in pushing yourself. If you actually take the idea of practice seriously—to me, practice should not be about enjoyment. Some people think of practice as “You do what you’re good at, and that’s naturally fun.” True practice is actually about just doing what you’re bad at, and working on it, and that’s not fun. Practice is about beating your head against the wall. So if you’re actually serious about getting better at something, there’s always going to be an aspect of it that’s not fun, or not enjoyable. If every single thing is enjoyable, then you’re not pushing yourself hard enough, is probably how I feel. But this movie takes it to a extreme that I do not condone. (Chazelle in Robinson 2014)

It seemed impossible to me that a simple story about a musician who wants to realize his dreams could work as a thriller. There has been too many films focused on aspiring musicians and musical prodigies that didn’t quite work (1980’s film Fame comes to mind and I’d rather not even mention the awful August Rush). But 29-years old Damien Chazelle’s second feature film showed me wrong. This was easily one of last year’s best thrillers (and I’ve seen Gone Girl and Nightcrawler) where you’ll find yourself sitting on the edge of the sit, gasping for air. There is no chasing cars, no horrible crime or murder to solve. This is a thriller about a guy who is drumming his ass off. Who knew drumming could be so exciting?

I had seen a lot of music movies that celebrated music or that showed the kind of joys from playing music, which is a big part of it of course, and not something that I would want to deny. But I hadn’t seen that many movies that really go deep enough into the fears of playing music, or the language that musicians can use to treat each other, or like the way that you can see it dehumanize and the way that it can feel like boot camp. (Chazelle in Dunaway 2014)

The impressive jazz score (by Justin Hurwitz – you can listen to it here) is one of film’s strongest and most impressive components, but what stands out nearly as much as the music is the brilliant editing by Tom Cross. It isn’t until the final 15 minutes that Whiplash truly turns into a mesmerizing and breathtaking thriller and achieves the greatness (with the most magnificent directing, editing, sound recording and acting) you never imagined it could. A truly amazing (and surprisingly confident for a second-time director) film that will stay with you for a long time after you’ll leave the cinema. Whiplash is also a film that (once again) showed us the undeniable talent of Miles Teller and that will hopefully be able to redefine Simmons’s career.

List of references:

The Basics:
Directed by: Damien Chazelle
Written by: Damien Chazelle
Starring: Miler Teller, J. K. Simmons, Paul Reiser
Running Time: 106 minutes
Year: 2014
Rating: 8.5

Two Days, One Night (2014)

Ever since the Dardenne brothers gained international attention with their 1996 film La Promesse (a devastating film about the ruthless exploitation of immigrant workers in contemporary Belgium), they continue to surprise with their realistic portrayals of limited opportunities and everyday struggles of the working class. Their filmography is filled with socio-economical criticism and this film is no exception. Although they haven’t filmed nothing less of extraordinary, this may very well be their most complex and well written film since their 1999 masterpiece Rosetta that brought them their first Palme d’Or at Cannes Film Festival.deuxjoursunenuitstills008

The central protagonist Sandra is played by Marion Cotillard who excels in what may be her finest performance to date. Sandra is a wife and a mother living in economically devastated Belgium town. She works in a factory (quite possibly for a minimum wage, although her salary is never discussed) and can barely manage to afford their family apartment (there is some discussion of returning to social housing with her husband). Living on a verge of poverty, it doesn’t come as a surprise when we learn that she recently had a nervous breakdown and has a history of depression. Although recovered and eager to work again, her boss doesn’t seem to think that she’s capable of performing her job as efficiently as before. He decides to let her go – but because he doesn’t want to get his hands dirty, he hands the decision over to the employees. After offering them two options (voting for Sandra keeping her job or voting against it and receiving a 1000€ bonus), Sandra gets voted out and is consequently fired from her job. But as it later turns out, some of the co-workers were pressured into the decision, as the foreman supposedly told them that they will be the ones losing their jobs if they vote against firing Sandra. After she confronts the boss about it on Friday afternoon, he agrees on holding another, secret ballot on Monday morning – giving her exactly two days (and one night) to convince her co-workers to give up their bonuses in order for her keeping her job.

What unfolds after that is an amazing and engaging melodrama and an uncompromising character study of a person who wants to get better, but can’t shake off the stigma of being unstable and incompetent to work because of her depression.

tumblr_ndtfzrX0xC1rcjsxlo1_r1_1280Sandra must swallow her pride and go on a weekend journey, begging the people she works with to let her keep her job. Even before she embarks on this difficult journey, we can see her moral dilemma – how can she asks them to give up their bonuses for her? They deserve that money. They need that money. But her husband doesn’t want her to give up that easily, knowing that their family cannot survive on his salary alone. With great difficulty (and with a great help of Xanax), she starts to drive around town, facing her co-workers, one by one. Cotillard’s portrayal of Sandra is nothing short of perfect – her posture, with her shoulders constantly scrunched as if she’s carrying the world’s weight around her neck, is telling us everything we need to know about the troubled life that Sandra lives, constantly worrying about her family’s survival, about her job, about paying the bills on time. Everything you need to know about Sandra’s life is in that posture – even more so than in her sad and empty look that shows us how little energy she has left, how ready she is to give up on her job – and on life in general.

This film is a great examination of corporate corruption and manipulation, herd mentality and peer pressure. It is also one of the most realistic portrayals of  how the working class lives in capitalistic neoliberal system where workers have no rights whatsoever and can easily be replaced if they suffer from a prolonged illness. In accordance with capitalistic competitiveness and lack of solidarity, the corporate factory where Sandra works decides to pit the workers against each other instead of simply letting her go, forcing them to choose between their own self-interest and the empathy towards another human being. But even those whose vote isn’t instantly bought with the bonus money don’t tumblr_ngi48b0vp41qzpdnho5_500make the decision lightly, since almost everyone’s first question when she approaches them is: “How is everyone else voting?”. Clearly afraid that they would be the only ones voting for her and therefore voting against everyone else’s interest, they can’t even begin to think about protesting against the inhumane and manipulative working environment. Each of them is too scared for their own job, because who knows who will be fired next?

The Basics:
Directed by: Luc Dardenne, Jean-Pierre Dardenne
Written by: Luc Dardenne, Jean-Pierre Dardenne
Starring: Marion Cotillard, Fabrizio Rongione
Running Time: 95 minutes
Year: 2014
Rating: 9