‘Good Luck, Have Fun, Don’t Die’, a film full of references exploring the dangers of artificial intelligence

Entertainment is thus combined with brilliant reflections on the (possible?) downward spiral of the contemporary world, through futuristic and surreal narrative choices which, however, have a great deal to do with certain aspects of our present.

Starting with *La jetée* (and, by extension, its remake *12 Monkeys*) “Good Luck, Have Fun, Don’t Die” is a film that draws heavily on cinema of the past, through obvious references ranging from “The Terminator” to “Night of the Living Dead”, right through to “The Matrix” and possible connections with the series “Black Mirror” as well.

This unrestrained reliance on references gives rise to a few too many dramatic uncertainties, due above all to the mixing of different styles and a host of devices we’ve seen before: despite some limitations in this regard, Verbinski nevertheless manages to imbue this bold production – which keeps you on the edge of your seat from start to finish – with personality and originality.

There are perhaps a few too many conclusions, but once the credits have rolled, there is more than a little food for thought; the performances of the entire cast – and, in particular, the lead played by Sam Rockwell – are also worthy of praise.

Among the characters – all skilfully crafted by screenwriter Matthew Robinson – Ingrid stands out in particular: a young woman who is allergic to smartphones and Wi-Fi, and who provides several truly moving moments.

Among the new releases in cinemas, we should also mention “Kontinental ’25” by the brilliant Romanian director Radu Jude, creator of extremely interesting films such as “Unlucky Sex or Porn Madness” (winner of the Golden Bear at the 2021 Berlinale) and “Do Not Expect Too Much From the End of the World”.

One of the most radical, ironic and politically astute filmmakers in contemporary European cinema, Jude has created a tragicomedy set in present-day Cluj, a city that symbolises the contradictions of modern capitalism and its inequalities.

The film’s protagonist is Orsolya, a bailiff living in the heart of Transylvania. When she is forced to evict a homeless man living in the basement of a building, he takes his own life. This unexpected event plunges her into a deep moral crisis. As she attempts to come to terms with her guilt, she is drawn into a spiral of reflections and encounters that challenge the relationship between individual responsibility and systemic violence.

Filmed in just ten days entirely on an iPhone, “Kontinental ‘25” is a project in which Jude continues to experiment, blending fiction and documentary, whilst drawing inspiration from sources ranging from Roberto Rossellini’s “Europa ‘51” to the films of Alfred Hitchcock.

Although less incisive and biting than in his other films, Jude offers a lucid and satirical reflection on today’s Europe, confirming his brilliant vision and his ability to create a highly personal style of filmmaking that never fails to intrigue. There are a few redundant moments, but the overall structure holds up and certainly leaves no one indifferent.