Category Archives: Drama films

Baracoa review – a poetic journey through bittersweet childhood

Posted on by

This part fiction, part documentary film captures the spontaneity of young friends Leonel and Antuàn

Directed by Pablo Briones, Sean Clark, and Jace Freeman, here is a film that blurs the lines between fiction and documentary as it accentuates bittersweet childhood connections, full of teases, mischief and innocent tenderness. Following Leonel and Antuàn, a pair of friends who grew up in the small Cuban town of Pueblo Textil, this mesmerising promenade through abandoned landscapes doubles as a journey to the cusp of adulthood.

With a script based on the real-life relationship and conversations between the two friends, Baracoa has an authentic spontaneity of children’s interactions so rarely captured in fiction films that rely on precocious child actors. The camera quietly observes the pair’s wanderings through ruined and deserted compounds whose austerity is transformed by the boys’ imagination. At one point, Leonel and Antuàn pretend to drive as they sit atop a broken down, rusted car frame. The moment is poetic, yet also full of melancholy. Soon, they will not find such childish daydreams so entertaining.

Continue reading...

Anne at 13,000ft review – a woman uses skydiving as therapy

Posted on by

Confident microbudget feature zones in on one woman’s unhappiness, and how skydiving provides an unlikely but dramatic release

Deragh Campbell is an award-winning Canadian actor and film-maker whose recent movie MS Slavic 7 I have to confess to finding weirdly inert and indulgent. She has a starring role in this movie, which is a confident, intimate microbudget feature shot almost entirely in searching closeup, directed by Campbell’s longtime collaborator Kazik Radwanski. It is a more approachable piece of work and Campbell’s performance is unsettlingly real.

She plays Anne, an unhappy young woman with a job in a children’s daycare centre and an undiagnosed anxiety disorder, whose life is turned upside down when she tastes the ecstatic thrill of skydiving. Anne gets on pretty badly with her grumpy, humourless colleagues – who may nevertheless have a point about her unprofessional, casual and derisive attitude – and argues with her mother. She meets a nice guy called Matt (Matt Johnson) at a co-worker’s wedding, though she may well be about to alienate him too. But all this is against the background of skydiving, which she took part in as part of the bachelorette party: the bride and all the maids-of-honour did it once, but Anne wants this amazing and passionate experience again and again. Could it be a miraculous therapy for her? Or is skydiving simply enlarging and intensifying her already troublesome and anarchic personality?

Continue reading...

The Man Who Sold His Skin review – tattooed refugee story offers up art-world satire

Posted on by

Serious themes are undercut by the flippant tone of this story about a Syrian refugee who becomes a conceptual art object

Here is a muddled caper of movie that doesn’t know what it wants to say; it doesn’t work as a satire of the international art market, nor as a commentary on the racism of white European culture. And its attitude to Syria is undermined by a silly and unconvincing ending that leaves a strange taste in the mouth. It is inspired by the Belgian conceptual artist Wim Delvoye and his human artwork called Tim: in 2008, Delvoye tattooed an elaborate punk-crucifixion scene on the back of a Zurich tattoo parlour owner named Tim Steiner, who in return for a cash payment agreed to sit still with his tattooed back on show in galleries for a certain number of times a year and have his tattooed skin surgically removed and put on display after his death. And of course it is this macabre destiny that lends fascination to the ongoing live events.

This movie from writer-director Kaouther Ben Hania imagines a Syrian man, Sam Ali (Yahya Mahayni) in love with a well-born woman Abeer (Dea Liane). But when he is wrongfully arrested by the tyrannical Assad government, Abeer’s family pressures her into marrying a smooth diplomat, Ziad (Saad Lostan), who takes her to live with him in Brussels where he is an embassy attache. Sam Ali manages to escape from police custody (the least of the film’s implausibilities) and get over the border into Lebanon where, hungry and hard up, he gatecrashes art exhibitions and gobbles the free canapes. And this is where he is approached by a preeningly arrogant artist, Jeffrey Godefroi (Koen De Bouw), who looks like Roger De Bris, the theatre director in Mel Brooks’s The Producers. If Sam will agree to the humiliation of having a massive “Schengen visa” tattooed on his back, then Jeffrey will be legally able to transport him to Brussels as a conceptual art object rather than a human being, as part of a show about the commodification of humanity, and Sam will be able to see Abeer.

Continue reading...

Ray Liotta: ‘Why haven’t I worked with Scorsese since Goodfellas? You’d have to ask him. I’d love to’

Posted on by

After years of avoiding crime films, he’s back as a mafioso in the Sopranos prequel The Many Saints of Newark. He talks about being adopted and getting into acting – and saves a surprise for the end


I am a little trepidatious ahead of my interview with Ray Liotta because the reviews, shall we say, are mixed. Not about his acting, which has been accoladed and adored from his first major film role, as Melanie Griffith’s crazy ex in 1986’s Something Wild, for which he was nominated for a Golden Globe. No, the problematic reviews are about Liotta personally. One person who worked with him described him to me as “the rudest arsehole I ever met”; another said he’s “a bit of a wildcard”, and I suspect that the latter is a euphemism for the former.

This would explain a long-running movie mystery: why isn’t he more successful?’ It took Liotta, now 66, until he was 30 to bag Something Wild, but after that, movie stardom seemed assured. He went from there to starring opposite Tom Hulce in the little-remembered Dominick and Eugene, and then playing “Shoeless” Joe Jackson in the extremely well-remembered Field of Dreams.

Continue reading...

The Humans review – masterly family drama transfers from stage to screen

Posted on by

Stephen Karam’s Tony-winning play makes the leap to film with ease, an extraordinarily well-acted, uncomfortably intimate look at a family at Thanksgiving

There’s a surprising urgency to Stephen Karam’s adaptation of his Tony-winning play The Humans, a vitality one might not expect from a film that sounds like something we’ve seen many times before. Not only is the set-up of a dysfunctional multi-generational family descending on a Manhattan apartment for Thanksgiving as dilapidated as most Manhattan apartments themselves (the post-American Beauty world of indies was forever damaged by the increasingly cliched quirky family subgenre) but the decision to film a one-location, one-act play (especially by the person who originated it on stage) can often be the result of vanity rather than necessity.

Related: The Guilty review – Jake Gyllenhaal’s tense 911 call thriller

Continue reading...

Jean-Paul Belmondo: the beaten-up icon who made crime sexy

Posted on by

Immortalised by Godard and Melville, the actor specialised in seductive tough guys – and blazed a trail through movie history

On the streets of Paris, car thief and fugitive cop killer Michel Poiccard has just been gunned down by the police, having shown an insolent, fatalistic attitude to the idea of getting caught, and indeed to the revelation that his American girlfriend Patricia, wannabe journalist and street vendor of the New York Herald Tribune, has ratted him out. She leans over Michel as he lies dying in a puddle of blood. Will Michel come up with some resonant last words? Not exactly. Defying agony from his bullet wounds, he just clownishly stretches his face into the two silly expressions he’d earlier used to explain the phrase “faire la tête”: a goofy silent scream, then a panto grin. Isn’t this what acting is, what life is: tragedy, comedy, faces, speeches? Who cares?

This unforgettably bizarre, throwaway gesture – the equal of “Here’s looking at you, kid” from Michel’s beloved Bogart – set the seal on Jean-Paul Belmondo’s sensational breakthrough in 1960 in Jean-Luc Godard’s equally legendary debut, À Bout de Souffle (AKA Breathless), from a treatment by François Truffaut and Claude Chabrol, and co-starring Jean Seberg as the American mesmerised by his erotic, existential bravado.

Continue reading...

The Card Counter review – Paul Schrader’s slow-burn revenge noir ticks all his boxes

Posted on by

Oscar Isaac is a blank-eyed poker player with a past in Schrader’s latest gathering of lost, tormented souls

Paul Schrader makes films about lost souls in torment and unachievable goals, the sort of bleak existential purgatories that speak to our own uglier moments. Ahead of the Venice press screening of his latest production, an impromptu security cordon makes more than 100 guests late, after which they are only allowed into the cinema in small dribs and drabs - a tense, shuffling progress that extends throughout the film’s opening half-hour. The critics are in uproar; the ushers get lairy. Wherever he is, I imagine that Schrader himself would approve of the show.

On screen, The Card Counter provides another stylish, slow-burning account of Schrader’s lonesome samurai, a figure who can crop up in all walks of life: as a taxi driver, an escort, a drug dealer, a priest. On this occasion he’s embodied by a blank-eyed Oscar Isaac, who wears his scuffed leather jacket like a bulletproof vest. William Tell (formerly Tillich) is a veteran of Abu Ghraib and served eight years for his crimes. He now earns a living at the card tables and roulette wheels of middle America. The film has him driving the strip malls at night or prowling the stygian bowels of interchangeable casinos, with their patterned carpets and heavy black drapes. These joints have lights blazing everywhere and yet always appear cloaked in shadow. The gamblers, one worries, bring the darkness in with them.

Continue reading...

Sexting, lies and unveiled selfies: the Egyptian film exploring the hidden lives of teenage girls

Posted on by

Ayten Amin’s Souad is a razor-sharp portrayal of sisterhood and sexual awakening that is rarely represented on screen

When the Egyptian director Ayten Amin was 10 years old, a classmate’s sister killed herself. The news gripped the school. But, in a society where suicide is a sin, no one talked about it; instead, they mourned the girl as though she had died mysteriously, or in an accident. “When I was shooting my first film, it suddenly hit me,” Amin says over a video call from her home in Cairo. “How did my classmate feel back then? How did she grow up knowing what happened, but with no one talking about it?”

In her new film, Souad, Amin explores precisely this: the hidden lives of teenage girls in Egypt. It follows the title character (played by Bassant Ahmed) and Rabab (Basmala Elghaiesh), sisters of 19 and 13 living in Zagazig, a small city 40 miles north of Cairo in the Nile delta. To her family and friends, Souad is as religious as she is studious – but she lives a different life online. She has virtual relationships with men and becomes enthralled by the glamorous-seeming Ahmed (Hussein Ghanem), an influencer from the fashionable Mediterranean city of Alexandria. Their relationship begins to sour when Souad stands up Ahmed for a real-life date; it gets steadily worse as a cycle of sexts and arguments sets in. Then tragedy strikes.

Continue reading...

Underground review – mine explosion disaster film digs deeper than most

Posted on by

French-Canadian director Sophie Dupuis puts human drama ahead of the action in this naturalistic, character-driven film

Here is an arthouse disaster movie from Quebec: a naturalistic, character-driven drama about what it might truly look like if a mineral mine exploded, trapping five workers underground. It’s the second feature from French-Canadian director Sophie Dupuis, who herself grew up in a mining family.

She opens her film in the heat of the rescue: red lights flashing, a response team descending into darkness. One of the rescuers, Max (Joakim Robillard), would be the hero of the Hollywood version, running around hot-headedly, disobeying orders: “Fuck you! I’m going to get the others!” Actually, much of the film is about how damaging it is for Max living with this tough-guy masculinity.

Continue reading...

The Cloud in Her Room review – exquisite slow-burn study of a quarter-life crisis

Posted on by

Chinese film-maker Zheng Lu Xinyuan makes her debut with a dreamlike distillation of a young woman’s alienation from family and friends

“A few days ago, I met someone.” A woman makes the confession matter-of-factly to her on-off boyfriend as they try to find somewhere for dinner. At that moment the camera pans up to the sky, and when it fades back to the street, the couple have gone, vanished into thin air. It’s not the only time that Chinese film-maker Zheng Lu Xinyuan, making her feature debut, cuts away from characters at precisely the moment another director would go in for a close-up; it may drive you crackers.

This film is pure slow-burn arthouse, shot in black and white, the format dominated by flashbacks – perfect for a film that drifts along on scraps and dreamlike fragments. It follows aimless 22-year-old Muzi (Jin Jing) who is back in her hometown, Hangzhou, visiting her folks for Chinese new year. Nothing much happens. In an early scene a gay friend asks Muzi to have a baby for him; his parents are desperate for a grandchild. Her boyfriend, a sensitive, shaggy-haired photographer (Zhou Chen), shows up unexpectedly from Beijing. Muzi is also flirting with a local bar owner (Dong Kangning) who clearly rates himself. Her parents have been divorced for years. She smokes cigarettes with her dad (Ye Hongming), an artist and jazz musician. A couple of scenes hint at emotional tensions with her mum (Dan Liu), a woman with the glamour and poise of a 1950s movie star; after a drunken karaoke session, her mum is sick on the street. When Muzi leans down to help, mum roughly shoves her away.

Continue reading...

‘I’m angry about a lot of things’: Japanese actor Minami on her new eco-drama with Johnny Depp

Posted on by

The actor and painter explains why the world needs to see Minimata, the new film about the mercury poisoning scandal that W Eugene Smith helped expose

Like Cher or Madonna, Minami is a one-name wonder. “I have my French and Japanese family names,” the 34-year-old actor says over video call from a pink hotel room in Tokyo. “But ‘Minami’ is simpler.” She gives a single, decisive nod. “Just write ‘Minami.’” She chose the mononym at 13 when she featured in her first film, Battle Royale, a gory cult thriller about schoolchildren fighting to the death on an uninhabited island. “When I went back to school, everyone said: ‘Your arms are all bruised, you have scratches, what’s going on?’ They thought my parents were beating me.”

Even when telling a story like this with dark undertones, her manner is insistently perky, as though she doesn’t want the listener to misread her as dour. When I ask about her Battle Royale audition, for instance, she blithely recalls “walking into the room and there were 10 men, and they asked me if I could do a handstand, and two of the men held my legs against the wall to help me …” I must be grimacing because she breaks off from the anecdote to reprimand me lightheartedly: “Don’t make that face! It was all fine.”

Continue reading...

Pedro Almodóvar’s films – ranked!

Posted on by

With his new film, Parallel Mothers, to be shown at Venice film festival, we take a look through the director’s ribald, pell-mell and beautifully colour co-ordinated output

Airline staff and passengers take drugs and act out their sexual fantasies as their plane prepares for an emergency landing. Not so much Airplane! as a sexed-up The High Life, but frothier. Best watched with tequila, poppers and the campest chums you can find.

Continue reading...

Bleed With Me review – three’s a crowd in taut bloodsucking horror

Posted on by

Amelia Moses’ feature debut keeps us guessing as to who is the hunter and who is the prey as a holiday in the woods turns sour

Writer-director Amelia Moses makes her feature debut with this tautly constructed work of psychological horror which, although far from perfect, certainly suggests she’s a talent to watch out for. Like British film-maker Rose Glass’ outstanding horror-adjacent breakthrough Saint Maud, Moses’ story circumnavigates a relationship between two women, one that is charged with an intensity that’s more than platonic but less than erotic, and inflected by an unequal power distribution.

The story takes place in Canada. We largely we see it unfold through the eyes of Rowan (Lee Marshall, excellent), a young office drone who meets the more confident and glamorous Emily (Lauren Beatty) at work when Emily saves her from a sexually predatory co-worker. With the pair having become friends, Emily invites Rowan to come with her for a holiday stay in a secluded, snow-capped cabin in the woods along with Emily’s boyfriend Brendan (Aris Tyros).

Continue reading...

Kiefer Sutherland and Rob Reiner: how we made Stand By Me

Posted on by

‘River Phoenix was like a 13-year-old James Dean. There was so much soul there’

This was the only audition where I did the reading and was hired right there in the room. I absolutely adored Spinal Tap, so to get that kind of affirmation from a director like Rob Reiner at that time in my life was really powerful.

Continue reading...

The Green Knight review: Dev Patel takes a magical and masterly quest

Posted on by

David Lowery’s complex, visually sumptuous and uncommercial tale of Arthurian legend revels in upending expectations

Equal parts folk, prog rock and metal, The Green Knight takes place at the inflection point when one version of the old world was supplanted by the next. In David Lowery’s liberty-taking interpretation of the character’s 14th-century origin poem, the headstrong yet not-quite-valiant Sir Gawain (Dev Patel, superb) traverses an England caught between the mystical pagan religions and the nascent Christianity soon to change the face of the nation.

At first, subtler touches denote the friction between the two, as in the cross-cutting juxtaposition of a supernatural blood-and-bone ritual against the quasi-biblical imagery of an ageing Arthur’s court. (The king’s crown doesn’t take the shape of a golden disc framing his head for nothing.) By the time near the third act that Lowery reveals his key reference point to be Martin Scorsese’s Last Temptation of Christ, another mounting of myth invested in mortal frailty and unconcerned with textual fidelity, it’s apparent that the maturation of one man is meant to coincide with that of an entire society.

Continue reading...

Casablanca Beats review – Morocco’s answer to Fame strikes a chord

Posted on by

A group of talented teens push the boundaries of their religious society by putting on a concert in Nabil Ayouch’s earnest film

Franco-Moroccan director Nabil Ayouch has made a likable, high-energy youth movie that could almost be called the Moroccan answer to Fame and which features that time-honoured plot device: putting on a concert.

Using nonprofessionals playing docu-fictionalised versions of themselves, Ayouch has created a drama revolving around an arts centre for young people that he himself helped to set up in the tough district of Sidi Moumen, called by someone here the Bronx of Casablanca. The school includes a special programme called the Positive School of Hip-Hop. A crowd of smart, talented teens join the class and we watch as they find out the challenges, limits and opportunities of learning self-expression through western-style rap in a Muslim society.

Continue reading...

Drive My Car review – mysterious Murakami tale of erotic and creative secrets

Posted on by

Ryûsuke Hamaguchi reaches a new grandeur with this engrossing adaptation about a theatre director grappling with Chekhov and his wife’s infidelity

Ryûsuke Hamaguchi’s mysterious and beautiful new film is inspired by Haruki Murakami’s short story of the same name – and that title, like Murakami’s Norwegian Wood, is designed to tease us with the shiny wistfulness of a Beatles lyric. Hamaguchi’s previous pictures Asako I and II and Wheel of Fortune and Fantasy were about the enigma of identity, the theatrical role play involved in all social interaction and erotic rapture of intimacy. Drive My Car is about all this and more; where once Hamaguchi’s film-making language had seemed to me at the level of jeu d’esprit, now it ascends to something with passion and even a kind of grandeur. It is a film about the link between confession, creativity and sexuality and the unending mystery of other people’s lives and secrets.

Yûsuke (Hidetoshi Nishijima) is a successful actor and theatre director who specialises in experimental multilingual productions with surtitles – he is currently working in Beckett’s Waiting for Godot and is preparing to play the lead in Chekhov’s Uncle Vanya. He has a complex relationship with his wife Oto (Reika Kirishima), a successful writer and TV dramatist who has a habit of murmuring aloud ideas for erotic short stories, trance-like, while she is astride Yûsuke having sex, including a potent vignette about a teenage girl who breaks into the house of the boy with whom she is obsessed.

Continue reading...

A Hero review – Asghar Farhadi’s realist tale is just too messy and unsatisfactory

Posted on by

Plot holes trip up the Iranian director’s drama of a slippery man’s desperate efforts to trick his way out of debtors’ prison

Asghar Farhadi has made a tangled film about the tangled web we weave when first we practise to deceive, in that calmly observant, realist yet information-withholding style with which this director made his name. In way, A Hero is a slice-of-life story, in which the “i”s and the “t”s are not necessarily dotted and crossed like a regular screenplay; it has the unsatisfactory, unclear messiness that real life has. There is plenty of interest here - and yet I have to admit to slight reservations about the melodramatic contrivances, which stretch credulity a little.

A Hero is a film that works because of a clever and subtle performance from Amir Jadidi as Rahim, a divorced father who has just been released from jail on a two-day parole, having been imprisoned for debt. He is a man with a bright yet strange, desperate smile, like one of the poor relations in Dickens. He is looking forward to being reunited with his girlfriend, his supportive sister and his beloved son – a gentle, sensitive boy with a speech impediment. Rahim is a man who believes that some sort of charming niceness might still get him get out of a jam. But he has a very specific plan for cancelling his prison sentence. His girlfriend has found a handbag in the street containing what appear to be gold coins: if they could sell them to a gold dealer, might that not raise enough for a deposit to persuade his creditor to forgive the debt?

Continue reading...

La Fracture review – gilets jaunes fable breaks under weight of its metaphors

Posted on by

A lovelorn woman lies in a Paris hospital as violent protests rage on the streets. It’s all very symbolic … but is it any good?

The fracture of the title is, ostensibly, the nasty broken arm suffered by ditsy lead character Raf (Valeria Bruni-Tedeschi), a comic-book artist in Paris who slips and falls over having had a traumatic and possibly metaphorical breakup with her partner Julie (Marina Foïs). But there is another metaphor level to come.

Related: Stillwater review – fictionalised Amanda Knox drama is so bad it’s bad

Continue reading...

‘I know it’s weird’ – Jumbo: the film about a woman who falls in love with a funfair ride

Posted on by

Inspired by Erika Eiffel, who married the Eiffel Tower, this surreal debut tells the story of a woman who falls in love with a big, swirling fairground ride. Its director explains all

Just imagine the pitch. “I want to make my debut film about a girl who falls in love with a funfair ride. Um, that’s it.” But, however improbable it may seem, Zoé Wittock didn’t just get Jumbo bankrolled, the film was also screened at Sundance. And it’s every bit as strange, and quite a bit richer than you might expect.

Jumbo tells the story of Jeanne, played by Noémie Merlant, who lives with her sexed-up single mother near an amusement park, and also has a job there as an after-hours cleaner. One night, while spit-cleaning the knobs on a new fairground machine, Jeanne realises she has fallen in love with “him”. And so begins a giddy rites-of-passage story, with the intoxication of flashing lights and the sensuality of oil standing in for the dopamine rushes and tentative bodily exchanges of first love.

Continue reading...