Full Time (2023)

Direction: Eric Gravel
Country: France

French writer-director Eric Gravel (Crash Test Aglaé, 2017) deserves all the praise he gets for Full Time, an excellent sophomore feature and sharp social observation of extraordinary impact. Strong in its commitment, the film also owes a lot to Laure Calamy (Only the Animals, 2019; My Donkey, My Lover & I, 2020), whose exceptional performance clarifies the reality of Julie, a single mother who struggles to raise her two children in the countryside while working in a demanding five-star Parisian hotel. 

The days start very early for Julie, who risks everything to change her life. While managing her limited time to go to a job interview at a distinguished market research company, she meets with considerable difficulties: a general strike, a complaining nanny, an inflexible supervisor, and an irresponsible ex-husband that leaves her financially tied up. Trapped in a hectic lifestyle, it’s the people and the city itself that don’t let her breathe. But as a strong and determined fighter, she admirably pushes back against adversity. And that’s the richness of a film that many people will be able to relate to. 

Gravel’s realism finds the right pacing, and the taut script, although precise and controlled, is implemented with dynamic camera movements and an efficient editing that help extract tension from the real-world scenes. Designed to provoke anxiety, Full Time is more gripping than most of the recent thrillers I’ve seen lately. And how could one not admire a woman who, constantly on the edge, refuses to collapse and keeps fighting for a better tomorrow?

Reality (2023)

Direction: Tina Satter
Country: USA 

Previously staged as an Off Broadway play with the title Is This a Room, Reality puts the focus on a real episode involving Reality Winner, a former member of the United States Air Force, a Farsi translator, and a yoga and CrossFit instructor whose home in Augusta, Georgia, was searched by the FBI on June 3, 2017. A warrant was issued on the basis of mishandling of classified information. 

Winner, compellingly embodied by Sydney Sweeney (Nocturne, 2020), had leaked an intelligence report on Russian interference in the 2016 US election. The two agents that approached her, Taylor (Marchánt Davis) and Garrick (Josh Hamilton), conducted a tense interrogation, but also created wry humor on several occasions - the scene involving the unlocking of Winner's cellphone is hilarious. The story moves forward in static bursts that are contained by the simple, unobtrusive direction of Tina Satter. She signs her debut feature film with promises of future quality work. 

Reality is well-made but depends almost entirely on the acting. And neither the lead nor the supporting actors let it down, providing merciless authenticity through crisp performances. The hard part is to realize that the truth is not what matters here. Winner spent four years in jail and remains under tight vigilance until November 2024. The Senate used the document leaked as evidence of Russian interference. Where does patriotism lie?

Falcon Lake (2023)

Direction: Charlotte Le Bon
Country: Canada / France 

Falcon Lake is a successful adaptation of Bastien Vivès’ 2017 graphic novel Une Soeur by Canadian actor-turned-director Charlotte Le Bon. She moved the original story from Ile aux Moines in Brittany to Quebec, and shot a sweet, endearing tale of teenage love and ghosts in 16mm. 

We can almost smell the air of summer, when the extroverted 16-year-old Chloé (Sara Montpetit) and the timid Bastien (Joseph Engel), who is about to turn 14, wander in the surroundings of the remote lake cabin where their parents took them to spend the vacations. Whereas the former smokes, drinks, and dances with friends in parties, the latter is still locked in his teenage shell. Both will experience the excitement, anxieties and frustrations of an immature first love, and deal with the natural dilemmas that arise from there. 

With the collaboration of François Choquet on the screenplay, Le Bon signs a remarkable first feature that feels acutely genuine and unique. Demonstrating a charming sense of storytelling, she directs the young actors with confidence, assuring that the story subtly progresses with a sensitive and melancholy atmosphere. 

This sort of works like an ode to that time in our lives when we still paid more attention to impulses than consequences. The talent of the young actors is obvious as they reflect teen life and confused feelings with impressive accuracy. In recent times, rarely the patterned behaviors of this age have been so well embodied in a coming-of-age drama that, in this case, is mildly stimulated by an understated supernatural dimension.

Moon Garden (2023)

Direction: Ryan Stevens Harris
Country: USA 

Moon Garden, the daring sophomore feature by Ryan Stevens Harris, is a freakish visual delight told from an unconventional perspective. Redolent of works by Jan Svankmajer, Guillermo del Toro and Tim Burton, the film follows a sweet 5-year-old girl, Emma (Haven Lee Harris), who wanders through a scary subconscious realm filled with dark phantasmagoria while trying to leave a comatose state.

The girl is often encouraged by whispered messages from her parents (Augie Duke and Brionne Davis), who are locked in an unhappy marriage. She avoids coming across invisible entities and grotesque monsters with teeth that seem to claim her soul, but occasionally bumps into sinister men whose intentions are uncertain. Once in a while, her mind erupts at the surface, recalling past moments of love and self-confidence. This gives her the strength and courage to keep going. 

A simple story at the core opens up vast possibilities for experimentation, and the director, who has been working as an editor since his feature debut - Virus X (2010) - finds some magical love among petrifying horror and chaos. The inventiveness of detail makes it a sensory experience; one of those that is hard to stay laser-focused as the screen gets crammed with such a proliferation of bizarre elements. 

With warped sounds enhancing the industrialism of the setting, this twisted fairytale is pretty darn hypnotic.

Blackberry (2023)

Direction: Matt Johnson
Country: USA 

BlackBerry is a well-told true story about the meteoric rise and precipitous fall of the Canadian brand that brought the first smartphone into the world. Director Matt Johnson, whose staple is also starring in his own films (The Dirties, 2013; Operation Avalanche, 2016), assembles a gripping biographical tech-thriller with refreshingly witty passages and character-driven fortitude as its most entertaining values.

Mike Lazaridis (Jay Baruchel), a brilliant if shy software developer, and his more confrontational business partner and best friend, Doug Fregin (Johnson), hire the ambitious entrepreneur Jim Balsille (Glenn Howerton in his best) for their company Research in Motion. The latter is an aggressive negotiator who may grab you by the throat and beat you about the head without ever lifting his feet from the desk. Intense and fast-moving, this thriller portraits their high demands for data as a matter of life and death. 

Even if you’re not tech savvy, Johnson puts it all in fascinating context. Aiming for greatness and not quite making it, he, nonetheless, discloses a vital, engaging part of technology history while guaranteeing absolute fun by effectively mixing serious and comedic tones. The rules of this tech business game are questioned in a last part tinged with bitterness. The acting, staging, editing, soundtrack, and direction are handled with competence.

Other People's Children (2023)

Direction: Rebecca Zlotowski
Country: France 

In her most accomplished work to date, Rebecca Zlotowski (Grand Central, 2013; An Easy Girl, 2019) encapsulates more than just a simple romance. Pruning rather than emphasizing, the plot is a realistic evocation of motherhood as experienced by Rachel (Virginie Efira), a caring 40-year-old middle-school teacher who desires a child of her own but ends up deeply attached to the five-year-old daughter (Callie Ferreira-Goncalves) of his new partner (Roschdy Zem). When things go in an unexpected direction, it’s necessary to come to terms with her own feelings. After all, a separation means two losses, not just one. Emotionally damaged and poked with unfairness, Rachel opts to remain in the background because she’s not the confrontational type.

The topic, rarely addressed in cinema, is treated with luminous candor and simplicity by Zlotowski, whose attentive gaze is empowered by Efira’s performance. The Belgian-born actress continues to astound with the depth of her characterizations - recent examples are Benedetta (2021), Waiting for Bojangles (2021), and Revoir Paris (2022). 

Other People’s Children is a tone poem of a film that entangles tenderness and cruelty within a mix of refined classicism and breezy modernity. The emotional waves are never allowed to erode the unflinching truthfulness of the film’s insights. Accordingly, with intelligent nuance molding storytelling, this is a drama that, in the end, reaches our hearts.

Are You There God? It's Me Margaret (2023)

Direction: Kelly Fremon Craig
Country: USA 

Adapted from Judy Blume’s controversial middle-grade novel from 1970, Are You There God? It’s Me Margaret follows Margaret Simon (Abby Ryder Fortson), a lovely, curious and perceptive 11-year-old who reluctantly moves from New York to New Jersey with her affectionate parents, Herb (Benny Safdie) and Barbara (Rachel McAdams). The former comes from a Jewish family, whereas the latter was raised in an extremist Christian environment. This factor creates a dilemma for Margaret who decides not to follow a religion until she tries them out by herself and reaches a conclusion. Still, she has daily  talks with her ‘God’ whenever a concern emerges.

Other than that, she experiences the bliss of being kissed for the first time, the excitement of a real crush, bursts of anger when things don’t go as planned, disappointment with friends, impatience and excitement when facing or not facing the physical changes of puberty, repentance when doing wrong, and some family surprises. 

This sweet, tender and feel-good coming-of-age comedy hits a few spots. But it has more than that; it is educational, bright in tone, and a victory in portraying a lovely character going through a strange phase in life. The director of The Edge of Seventeen (2016), Kelly Fremon Craig, captures all this with that rare trick of being both intelligent and amusing. Moreover, her script induces the right pace and makes the most of the young actors’ spontaneity - especially Fortson and Elle Graham who give sensational performances. 

Considering the numerous traps associated with the material, this brave, funny leap into womanhood and religious consciousness stands in good stead.

Enys Men (2023)

Direction: Mark Jenkin
Country: UK 

It’s only half-way into the story of Enys Men that things start to click. A non-linear structure intertwines flashbacks from other times and tricks of the mind, disorienting apparitions, strong symbology, unexplainable physical mutations, and a panoply of selected eerie sounds - all these aspects work toward emotional resonance in this heart-stopping folk horror film set in 1973.

A volunteer scientific researcher (Mary Woodvine) observes a rare flower and lichen on a desert island off the coast of Cornwall in South West England. She takes daily notes of her meticulous observations. Strangely, the more her mind tries to focus, the more it sinks into a ghostly nightmare that reveals tragic past occurrences. 

This is the sophomore feature and first foray into the horror genre by arthouse filmmaker Mark Jenkin (Bait, 2019), who wrote the script, photographed, edited, and composed the original score for the film. Shot in 16mm and presented in 4:3 aspect ratio, the grainy colored film feels somewhat minimalistic in the process but it’s never boring, scoring points against other similar folklore-inspired fictions.

Let me remind you that Enys Men, which means stone island in Cornish, is more about sustained creepiness than actual big scares. There’s this indelible sense of isolation, uncanniness and mystery enveloping a skimpy but relentlessly chilly mystery that ingrains the mind after it grabs the senses. Jenkin demonstrates remarkable artistry in the manner he handles the material, and will leave you guessing until the end.

Return to Seoul (2023)

Direction: Davy Chou
Country: South Korea / France / other

Starring Park Ji-min, an immensely talented newcomer, Return to Seoul is a chronicle of disillusion and self-discovery that, avoiding clichés and character victimization, is both tough and tender as well as genuine and touching. The third feature from Davy Chou (Golden Slumbers, 2011; Diamond Island, 2016), who based himself on the life of a Korean friend, deals with two delicate subjects: the confrontation of cultures and the search for one's origins. 

The director, who was born in France to Cambodian parents, identified himself with part of the story as he only visited Cambodia at the age 25. Just like Frederique (Ji-min), the volatile protagonist of the film, who, at that same age, leaves France - where she was adopted as a baby - to visit her country of birth, South Korea. Even denying it at first, her conscious intention is to connect with their biological parents (Oh Kwang-rok, Choi Cho-woo).

Life sends her in different directions - from wild partygoer to intoxicated gothic to missile negotiator - but the fear of abandonment never leaves her. She can be spirited, aggressive, offensive, and even mean sometimes as she abruptly cuts ties with the ones she loves. All her unexpected behaviors come from the sadness of lacking an identity and fear of rejection. Will she ever have relief from this eternal quest? 

There’s total involvement from the cast, which gives rise to a stunning authenticity, yet it’s Ji-min, a visual artist, who carries the film on her shoulders. A few funny moments decompress the heaviness of deep emotional wounds that need courage and a long process to heal. Return to Seoul is a compellingly constructed, deeply felt drama.

The Eight Mountains (2023)

Direction: Felix Van Groeningen, Charlotte Vandermeersch
Country: Italy / Belgium / other

This adaptation of Paolo Cognetti's book by the Belgian couple Felix Van Groeningen (The Misfortunates, 2009; The Broken Circle Breakdown, 2012) and Charlotte Vandermeersch reveals quality in both the writing and direction. It’s also convincingly acted by Luca Marinelli (Martin Eden, 2019) and Alessandro Borghi (The First King, 2019), who worked together prior to this film in Claudio Caligari’s Don’t Be Bad (2015).

The well-meaning attempt to depict an unfailing, genuine friendship between two men with very different personalities throughout the years drifts away from sloppiness and pettiness. The topics are treated objectively, bringing us valuable humane feelings. In a profusion of sensitivity, The Eight Mountains sneaks up on you, annotating the roots, visions, and choices of Pietro (Marinelli), a man from the city who is curious about the world, and Bruno (Borghi), a man born in and faithful to the mountains. They first met at a very young age in Grana, a tiny Northwestern Italian village near the Alps. 

Displaying a rare delicacy and sincerity, the film captures these childhood friends navigating the peaks and valleys of life. In their distinct paths, both find pleasant discoveries but also tremendous difficulties at some point. The Eight Mountains is a somewhat long saga that, nevertheless, is hard to forget. Imposing itself without flamboyance, this is powerful cinema one can compare to reading a good old novel. The narrative gains deeper meaning with the magnificent mountainous landscape of Aosta Valley, beautifully captured by the lens of cinematographer Ruben Impens, and a peaceful folk and country-flavored soundtrack by the Swedish singer-songwriter Daniel Norgren.

R.M.N. (2023)

Direction: Cristian Mungiu
Country: Romania 

R.M.N. is a dark, complex, sometimes strange work that attempts to open peoples’ eyes to real problems through the sociological and psychological description of its characters. This drama, written and directed by the ever-interesting Cristian Mungiu (4 Months, 3 Weeks and 2 Days, 2007; Graduation, 2016), is a powerful examination of European struggles and fragilities. The title is a Romanian acronym for nuclear magnetic resonance.

Depicting modern violence and irrational fears within a multiethnic village in the heart of Transylvania, the film is properly informed about rejection, division, machismo, fiery populism, frustration, and nationalism. Opposite values clash within an emotionally unbalanced community that brings xenophobia and violence to the fore. Everything’s toxic here, even the fear we breathe during long fixed takes.

The story follows Matthias (Marin Grigore), who returns to his home village after a failed work experience in Germany. He’s concerned with the education of his son, Rudi (Mark Blenyesi), who has been dealing with irrational anxieties lately to the point of stopping to speak, as well as with the health of his father, Otto (Andrei Finți). He's clearly not on good terms with his wife (Macrina Bârlădeanu) but remains smitten by an ex-girlfriend, Csilla (Judith State), who manages a bakery that just started hiring foreign workers. This triggers xenophobic and racist movements among the locals. 

In his recognizable style, Mungiu knows exactly where to pinch and call our attention to the unjustified anger of ignorant people and the powerlessness of those who care. The final shot may be a bit too off, but will make you think about the intentions of the author, whose clinical observations and intended unpredictability are reaffirmed.

Godland (2023)

Direction: Hlynur Pálmason
Country: Iceland

With Godland, Icelandic Hlynur Pálmason (A White, White Day, 2019) signs a sensory piece of cinema that bears some similarities with Ingmar Bergman and Carl Dreyer, not so much in the visuals but rather in the topic, severity of the mood, and depiction - both physical and emotional - of the main character. However, the sharp square-framed images recalling the photographic process known as daguerreotype and a masterful direction make Godland feel like an unexplored land in cinema.

Elliott Crosset Hove is Lucas, a Lutheran Danish priest who is sent to Iceland with the mission of building a church and photographing the population. The Nordic island was under the Danish crown rule in the late 19th century, when the story is set, and the clash of temperaments, habits and language is pretty evident. Taking the longest route in order to photograph the scenic views, Lucas feels the callousness of Ragnar (Ingvar Eggert Sigurðsson), a somber Icelandic guide, right from the start.

Not only his body succumb to the harsh environment but do does his mind. It’s gradual but conclusive. The deeper he sinks into this unforgiving landscape, the more he falls into temptation and sin. 

Godland is filled with sensations that come from the physical world and from the soul. You’ll feel the poetic, sometimes magical realism on one side, and the fear, transgression and fatality on the other. This rare reflection on the colonization of the Far North deserves visibility.

Pinball: The Man Who Saved the Game (2023)

Direction: Austin Bragg, Meredith Bragg
Country: USA 

Considered a game of chance in the 1970’s, pinball was banned for 35 years in New York. Roger Sharpe was the man who managed to overturn that drastic measure when he moved to the city with the intent of becoming a writer. This true story is at the center of the Bragg Brothers’ biopic Pinball: The Man Who Saved the Game.

Active since the mid 2000’s, the pair of directors finally make their debut feature with a biographical comedy that, following traditional narrative procedures, gains momentum with enchanting well-written dialogues and a smart structure. It’s also romantic in its own way, and an optimistic confection, sometimes frothy, sometimes exceptional, that feels like it might have sprung from the era it portrays. 

Creatively told, the story acquires a dazzling motion while purposely exaggerating the documentary within the film versus the facts, realistically expressed by Mr. Sharpe of our days (Dennis Boutsikaris). The young Sharpe, owner of a peculiar mustache and vivid manners, is played by Mike Faist (West Side Story, 2021), who makes a wonderful pair with Crystal Reed (Teen Wolf: The Movie, 2023), the love of his life. 

The Braggs inject a few drops of acid into what would be a simple story, turning it somewhat cartoonish but seductively amusing. Pinball won’t be among your standard biopics but rather a favorably low-key portrait whose well-oiled mechanisms intend to divert as much as inform.

The Innocent (2023)

Direction: Louis Garrel
Country: France

Louis Garrel, the son of esteemed director Philippe Garrel for whom he has acted several times over the years (Regular Lovers, 2005; Jealousy, 2013; Le Grand Chariot, 2023), wrote, directed and starred in The Innocent, his fourth feature and most rewarding film so far. This project took five years to mature and bears a very personal stamp as it was inspired by his mother, the actress Brigitte Sy, who actually married a prisoner in the penitentiary where she was giving theater workshops. Louis was 18 when that occurred.

Here, he impersonates the taciturn Abel, who freaks out when informed about what his mother (Anouk Grinberg) is planning to do. In panic, he starts to investigate all the moves of his suspicious father-in-law (Roschdy Zem) with the help of his best friend, Clemence (Noémie Merlant). 

This romantic comedy drama, brilliantly served with a slice of heist thriller on the side, takes a somewhat familiar concept and applies it to the story of mother and son. The well-crafted plot entertains without upsetting, and the film is carried out with remarkable ease. It's all very charming (thanks to the fantastic ensemble cast and some decent chemistry between them), gloriously dramatic (the scene at the restaurant is memorable) and, at some point, thrilling. Garrel ultimately finds the perfect equilibrium between genres, guaranteeing narrative fluidity at all times.

Narrative cleverness and adroit editing sustain us through a story that, being irremediably elemental, simple and light, succeeds in its efforts as it is also graced with a typically super performance by Merlant and an effective direction by Garrel. Delivering that pure pleasure of cinema we thought already lost, they will put a smile on your face.

Rimini (2023)

Direction: Ulrich Seidl
Country: Austria 

Co-written, directed and produced by Ulrich Seidl, an inveterate provocateur who captured the attention of the media with his audacious Paradise trilogy, Rimini is a comedy drama about decay in every sense. Although freckled with cheesiness, shenanigans and nostalgia, the film is generally absorbing with its strong performances and intoxicating subversion. Its visuals, thoroughly mesmerizing, depict the life of a washed-up romantic pop artist and occasional gigolo, Richie Bravo, impeccably impersonated by Michael Thomas. Seidl created this role specially for him after seeing him singing Sinatra’s “My Way” during the shooting of Import Export (2007).

The backdrop for the story is the northern Italian title city whose gloomy winter weather makes the story even more punishing. With fatherhood as a key topic, we get a glimpse of Richie’s relationships with his nationalist, dementia-struck father (Hans-Michael Rehberg in his last film role) as well as his daughter, Tessa (Tessa Göttlicher), who, after 18 years, claims what he stole from her and her mother. Yet, his money - most of it coming from sexual services for retired fans - barely covers his alcohol addiction.

This acerbic Dolce Vita is not an easy film to watch, but worth the effort as it is a brutal and insolent viewing experience. Seidl can still hurt with his ferocious filmmaking style. He extracts a mix of caustic humor, corny drama, unseductive raw sex, and a sort of painful numbness from many of the scenes. If this is your cup of tea, take a look at Sparta (2023), the follow-up to Rimini, which focuses on Richie’s brother, Ewald.

Living (2023)

Direction: Oliver Hermanus
Country: UK

Living is an impeccable period drama handled by South African director Oliver Hermanus who, after the well-accepted Moffie (2019), brings us a re-reading of Akira Kurosawa's 1952 masterpiece Ikiru, which he transposes to the post-war London of the same period. 

In the first minutes, especially if you don’t have a reference of the original film, you might be inclined to think that the protagonist is Peter Wakeling (Alex Sharp), a young newcomer who joins his bureaucratic peers at the London County Council for his first day at work. But soon, we realize that the man to follow is his boss, Mr. Rodney Williams (Bill Nighy), a stiff, bored widower who does his job quietly without paying attention to the ones around him. His life suddenly changes  when he is diagnosed with a terminal cancer. From then on, unable to get the attention of his own family, this lifeless man decides to shirk work in order to live what he had never lived before. He confides in two persons: an insomniac bohemian writer (Tom Burke), who takes him partying, and Miss Harris (Aimee Lou Wood), a cheery former employee. 

Living is both inspired and inspiring. It’s also risky as it steps on classic territory. Yet, the core of the film is completely soluble in the contemporary with the exception of the piles of paperwork, which no longer apply to our technological era. 

Although this reflection works as a stinging satire of the bureaucratic mind-set of that time, the film’s best quality remains its emotional honesty. With an appropriate mise en scène and  technicolor photography giving it a deliciously old-fashioned charm, Living is a tastefully poignant story of deep human emotion wrapped up in a retro British wall covering. It’s sad, but in its awakening consciousness, it reminds us all that it’s never too late to embrace life.

All the Beauty and the Bloodshed (2023)

Direction: Laura Poitras
Country: USA

From the awarded documentary filmmaker Laura Poitras (Citizenfour, 2014; The Oath, 2010), All the Beauty and the Bloodshed examines the life, career and activism of American photographer Nan Goldin. The artist has spent the last few years chasing the Sackler family, the ones responsible for the opioid crisis that decimated thousands of lives across the world.

Goldin opens up about her difficult childhood, the trauma that came with the suicide of her older sister, her complex relationships, her work, her addictions, and her disapproval of the Sacklers, whom she confronted in court. Her continued activism forced several museums to reject their donations and remove their names from the galleries. 

The most revealing moment is when Goldin states how she officially entered the art world. Her personal work notably focuses on LGBT communities and related topics such as nightlife, Lower East Side parties in the 1980s, and AIDS - a condition that victimized many of her friends. All these are logically linked to her personal life. As the photographer ponders about the difference between telling stories and the real experiences lived, we get to know that she uses photography as as a way to walk through fear.

Poitras orchestrates a well-made, easy to digest documentary that creates a certain contrast by having everything in the right place in opposition to the protagonist’s irreverence. Goldin proves to be a true experimenter and survivor of our world.

La Civil (2023)

Direction: Teodora Mihai
Country: Mexico / Romania / other

Co-written and directed by Romanian director Teodora Mihai (Waiting for August, 2014), La Civil is a solid, relentlessly thrilling drama with an ultra-realistic plot based on a real-world story, strong performances, and a resolute direction. On the one side, this is a chilling observation of violent Mexico and the rough ways of its cartels; on the other, it's a depiction of a mother fighting to find her kidnapped daughter while scraping through the abysses of places whose boundaries have been moved. 

The actress Arcelia Ramírez impersonates this mother, whose fragility veers to fearlessness as she seals an uncommon agreement with a military unit recently transferred to the small town where she lives. We never let go of the heroine she plays and want to applaud her unremitting investigation to know the truth. Yet, the fear is real and the sense of hopelessness is excruciating. The same cannot be said of her passive husband, Gustavo (Álvaro Guerrero), who had left home to live with a much younger woman. 

Mihai grabs hold of her character and the spectators by dragging them into a vertiginous nightmare. Her narrative mechanics never weigh down the power of the story, which works as a social chronicle of a country ravaged by violence and corruption.

The Menu (2022)

Direction: Mark Mylod
Country: USA 

Gastronomy and madness go hand in hand in The Menu, a pungent psychological thriller served with large portions of humor. I found it agreeably witty despite the grimness, with an excellent performance by Ralph Fiennes in the role of reputed if enigmatic chef Julian Slowik, who happens to be a disgruntled sadomasochist storyteller. Mark Mylod, in his first theatrical effort, directs from a script by Will Tracy and Seth Reiss.

The chef’s special dinner is served in his exclusive restaurant located on a remote island. The menu is far from classic and the elitist guest list includes a vain food critic and her editor, a wealthy couple of regular customers, three arrogant business partners, a washed up movie star and his assistant, and the self-centered Tyler Ledford (Nicholas Hoult), an undisturbed food lover. The latter took his new date with him, the confident Margot Mills (Anya Taylor-Joy), without giving previous notice to the restaurant. Chef Slowik is particularly intrigued by her presence. 

Creative and unique in its conception, the film presents a dark side that haunts, scares and lingers. A number of substantive observations about one’s dreams and our society are to be savored, and the relaxed but steady pacing allows the buildup of an emotional crescendo. Giving us penetrating looks, Fiennes completely controls the kitchen, avoiding fussiness and sentimentality, while the the music composed by Colin Stetson - an estimable avant-garde multi-reedist - accompanies sophisticated plates and key moments alike.

By the way, never the thought and vision of a cheeseburger made such an impression on me. And by this time your appetite should be big for both the food and the movie.

Dry Ground Burning (2022)

Direction: Adirley Queirós, Joana Pimenta
Country: Brazil 

Directed with calm passion by Joana Pimenta and Adirley Queirós (White Out Black In, 2014), Dry Ground Burning is an interesting docufiction that teems with intimidating facts. Centered on the story of Gasolineiras de Kebradas, the film offers no clear calls to action but draws us in by delivering a cumulative exposure of the lives of three women from the Sol Nascente favela on the outskirts of Brasilia. 

Chitara (real name Joana Darc Furtado) made history as a gas hustler. After buying a piece of land crossed by underground oil pipes, she made a profitable deal with local motorcyclists and confesses that the world of crime absorbs her inescapably. Her half-sister, Léa, who did nine years in prison, is a gun expert and vigilante who dreams of opening a whore house. The twosome like to remember their father and get a bit nostalgic with stories from the past. Their friend, Andreia, is running for District Deputy with the Prison People Party. Her main goal is to end the police curfew at a time when Bolsonaro celebrates his presidential election victory and people shout on the streets: “Lula is dead”. 

The tough attitude, a consequence of a dangerous and coveted business, is sometimes surpassed by the importance of family, children and friends. Whenever these street warriors are not in action, this is a film of languid pauses and big close-ups. The scope is made palatable by the consistency of its focus and its dry, nearly post-apocalyptic look is reminiscent of Mad Max.

The Brazilian gangsta-rap and cheesy popular songs we hear also become vital for the mood the directors want to convey. This persuasive piece of filmmaking fuses crime and drama, showing not only the cost of lawlessness but also the power of these women.