CineCrossroads: “Michael,” “A Clockwork Orange,” and “The Wind Rises”

Movie of the Week - Michael (2026)

A film about the King of Pop, Michael Jackson, became a sensation in its first days of release. The film grossed $97 million in the United States and $217 million worldwide. This marks the strongest opening in the history of music biopics, surpassing Straight Outta Compton and significantly outperforming Bohemian Rhapsody.

The story follows Jackson’s rise to global fame, from his performances with The Jackson 5 to his status as a global icon. The lead role is played by his nephew Jaafar Jackson.

The film focuses on the artist’s influence and the scale of his achievements. A key moment is the MTV scene, when Black R&B and soul artists were rarely featured on the channel. It is here that the film’s main idea takes shape as a cultural breakthrough rather than a personal drama.

The central conflict revolves around his strict father, portrayed by Colman Domingo, and Michael’s desire for independence.

Jaafar Jackson may seem reserved at first, but gradually opens up and captures the movement and energy of his uncle.

In the end, the film delivers on its goals. Michael entertains, shows the artist’s rise, and reminds us why Michael Jackson remains the King of Pop.

Classic - A Clockwork Orange (1971)

The most controversial work by Stanley Kubrick still provokes mixed reactions. After its release, the film was withdrawn from distribution in the UK by the director himself and only returned decades later.

The main character, Alex DeLarge, played by Malcolm McDowell, is a charismatic and violent gang leader. His crimes lead to an experimental “treatment” that suppresses aggression but strips him of free will.

The film confronts the viewer with an uncomfortable question: what is more frightening, violence or a system that tries to eliminate it at the cost of human individuality.

Family Choice - The Wind Rises (2013)

One of the most personal films by Hayao Miyazaki tells the story of Jiro Horikoshi, an engineer who dreams of the sky but cannot become a pilot.

It becomes a personal story because Miyazaki himself is the son of a man who worked in the aviation industry during the war, and his childhood fascination with airplanes always coexisted with an understanding of their destructive power.

The protagonist becomes an aircraft designer and joins Mitsubishi, where he creates planes during a time of militarization. Jiro stays away from politics, but his work becomes tied to war.

At the center of the film is a moral paradox. The desire to create something beautiful and perfect eventually leads to it being used as a weapon. Alongside this, a tender love story with Naoko unfolds, giving the narrative a sense of fragility.

Miyazaki blends reality with poetry, introducing scenes with the Italian engineer Caproni as a symbolic mentor. As a result, the film becomes a reflection on dreams and the fleeting nature of life.

You can read last week’s edition of CineCrossroads here.