The Substance (2024)

Direction: Coralie Fargeat
Country: USA

Coralie Fargeat’s sophomore feature, The Substance, is set to be hailed as the shock film of the year. A grotesque blend of body horror with sharp satirical overtones, it escalates in bizarre intensity until it reaches the brink of madness.

The film stars Demi Moore as Elisabeth Sparkle, an aging TV star who injects a miraculous substance designed to unlock her DNA, creating a younger, more beautiful version of herself. That version is played with mischievous charm by Margaret Qualley. However, Sparkle fails to adhere to the crucial condition—switch bodies every seven days—and struggles to comprehend the delicate balance needed for both versions to coexist.

The pumped up narrative swirls us up in this woman's obsession, invoking the transgressive and visceral visual traits reminiscent of David Cronenberg and John Carpenter. At its best, the film maintains a tense and unnerving atmosphere, but just as it has you on the edge of your seat, it spirals into gratuitous violence and excessive gore.

Fargeat's creation is undeniably horrific, but she pushes it too far, especially in the final act. The relentless gore feels less like a narrative necessity and more like a transgressive indulgence, ultimately undermining the careful creepiness that initially made it gripping. The last section is so filthy and exaggerated that it risks alienating viewers, leaving one to wonder why the director chose to tarnish what could have been a chillingly effective film.

The Substance is nauseating but undeniably powerful, shocking yet audacious. It’s an outrageously bloodthirsty dark fantasy that demands a strong stomach. Had Fargeat reined in the excess, it could have been a standout horror. Nevertheless, both Moore and Qualley deliver striking performances.

Kneecap (2024)

Direction: Rich Peppiatt
Country: Ireland / UK

Kneecap is an ebullient, schizophrenic biopic about the Belfast-based hip-hop trio of the same name, which unexpectedly became the symbol of a civil rights movement dedicated to preserving their native language. Written and directed by Rich Peppiatt, the film thrives on the impetuosity of the rappers—Liam, Naoise, and JJ—their energetic music, anarchic irreverence, and the politically charged atmosphere of Northern Ireland. Though the film occasionally wavers between authenticity and promotional flair, it delivers enough sharp moments and humor to keep audiences engaged. 

While the true story is refreshingly original, the film’s sensationalist execution—marked by a fast editing and bouncing rhythm—feels like a pastiche of Trainspotting (1996) and 8 Mile (2002), with a dash of Guy Ritchie’s gangster flair thrown in the mix. Despite leaning on a familiar formula and evoking a sense of déjà vu, there’s a palpable passion driving the project. This gritty urban narrative brashly entertains, capturing the rebellious spirit of a trio criticized for glorifying drug use, anti-social behavior, and violence in their lyrics. As they pursue success, they must navigate opposition from Ulster-loyal police, politicians, and dangerous paramilitary groups. Without breaking new ground, Kneecap effectively captures the spark and controversy surrounding the group.

How to Make Millions Before Grandma Dies (2024)

Direction: Pat Boonnitipat
Country: Thailand 

The intergenerational comedy drama How To Make Millions Before Grandma Dies is a temperate charmer, though it wrestles with some predictability in its plot. Directed and co-written by 34-year-old filmmaker Pat Boonnitipat in his feature debut, the film manages to strike an emotional chord while maintaining a light touch. The narrative centers on M (Putthipong "Billkin" Assaratanakul), a college dropout and compulsive gamer with a tendency to squander money. He volunteers to care for his 79-year-old grandmother (Usha "Taew" Seamkhum), who is dying from stomach cancer, but his motives are questionable from the start.

Despite uneven, the film delivers a feel-good experience, offering a sober and bittersweet reflection on family relationships. It can be quite mellow in spots but definitely not choppy, celebrating cranky grandmothers with big hearts and fierce independence. Even in its most painful moments, How to Make Millions retains a sense of gentleness, thanks to an accumulation of small details—both sad and funny—that make the characters relatable and endearing. Seamkhum, in particular, delivers a standout performance, grounding the film in authenticity. 

It’s not hard to guess where the story goes, but this Asian neo-realist effort sincerely acknowledges the sadness of being near death with both heartbreaking and heartwarming gestures. Boonnitipat makes an unabashedly sentimental move with an irresistible sweetness.

Oddity (2024)

Direction: Damian McCarthy
Country: Ireland

Oddity, a slow-blooming portrait of doomed love, immediately thrusts its audience into a realm of disquiet and discomfort. With a Hitchcockian mood and tone, the film itself is a cinematic oddity, playing well with symbolism and emotions but failing at cohere completely.  

Surreally mounted and beautifully shot, Oddity follows Darcy Odello (Carolyn Bracken), a blind token-objet reader woman and antique shop owner who decides to investigate her twin sister’s murder one year after it happened. Armed with a mysterious wooden figure, she stays at the country house where her sister was killed, allegedly by a former patient of her psychiatrist husband, Ted Timmis (Gwilym Lee). 

Without straining to make an obvious point, the director Damian McCarthy (Caveat, 2020) builds tension as we keep gaining interest, teasing before delivering a few well-placed chills. His proclivity for the horror genre is no fluke, but his sophomore feature is one to be savored for its atmosphere than remembered for its impact. Oddity unfortunately culminates in a bland, disappointing finale, one that is more amusing than spooky. While the film doesn't totally click on all fronts, there is enough darkness in its DNA to satisfy enthusiasts of the genre.

In Our Day (2024)

Direction: Hong Sang-soo
Country: South Korea

Korean director Hong Sang-soo's 30th feature, In Our Day, is a breezy, minor effort that may not be particularly thought-provoking but is deeply explorative of life and art. With his trademark understated style, Hong once again embraces simplicity, allowing the melancholy undertones of the film to ebb and flow without pointing toward any specific destination.

In Our Day seems to carry an autobiographical touch, presenting two parallel stories that involve established artists and their younger admirers, who are curious about their careers and perspectives. The film’s naturalistic staging, dialogue, and human interactions lean toward minimalism, yet there are subtle but significant details woven throughout. It’s a double moral tale that gets the form of a plotless slow burn, stripped of complexity and anchored by serene performances from an ensemble cast that makes it as breezy as a stroll in Central Park. 

Hong himself frames the film with meticulous attention to image composition, adding a layer of visual care that compensates for the film’s modest ambitions. In Our Day may not be mind-blowing in its ideas, but it radiates warmth and gentle humor. It's a human and occasionally touching film, though it demands patience from viewers, asking them to find pleasure in the small moments and connect with its characters, a task that may not always come easily. 

Ghostlight (2024)

Direction: Alex Thompson, Kelly O'Sullivan 
Country: USA

Ghostlight, set in Chicago, is an intimate drama that delves into themes of family, loss, art, and healing. Directed by Alex Thompson and Kelly O’Sullivan, the film stars Keith Kupferer, Katherine Mallen Kupferer, and Tara Mallen — a real-life father, daughter, and mother trio who portray the same familial roles in this fictional account.

Dan (Keith Kupferer), a stressed out construction worker, finds himself reluctantly drawn into a local theater company by middle-aged actress Rita (Dolly de Leon). The group is rehearsing Shakespeare’s Romeo and Juliet, a tragedy that stirs painful memories of Dan’s own personal loss. Yet, the chance to escape into another character's life might be exactly what he needs to begin healing. 

The film manages to sustain tension, though it occasionally undercuts itself by resolving conflicts too swiftly. Without trivializing the emotions involved, the filmmakers craft a poetic melodrama that doesn’t strive for perfection but rather for honesty, offering moments of piercing observation. The scope of the plot actually widens with the theatric representation, an emotional expression that further fuels the narrative. 

Ghostlight confronts viewers with a keen understanding of the cracks that emerge in people over time as they wrestle with grief and the mysteries of life. The movie denotes a bit of formula and calculation as the directors put out a play for us — so, if you’re looking to be wowed, this may not do the trick. With that said, I still believe it’s worth checking out just for its newfound parallels and poignant exploration of human emotions.

Babes (2024)

Direction: Pamela Adlon
Country: USA

Actress turned director Pamela Adlon makes her directorial feature debut with Babes, a quintessential New York comedy centered on motherhood and female friendship. While not a revolutionary tale, the film draws its strengths from fine performances, side steps, juicy details, and broken of taboos.

The story follows Eden (Ilana Glazer), who unexpectedly becomes pregnant after a one-night-stand, and her long-time best friend, Dawn (Michelle Buteau), who is married and has just had her second child. Tensions between the nearly inseparable pair escalate to a frantic boil, exacerbated by the emotional fluctuations and frustrations of being a mom. 

Though the catalogue of family troubles and various conflicts is familiar, the film is humanely observed and profuse on witty banter. The dialogue is fast and pungent, and the pacing is suave, all delivered with a good heart. Even the most clichéd moments can feel emotionally true in this lighthearted film, which, despite its faults, tries to march to a different drum than the most of Hollywood comedies.

Babes might not be as funny as some have claimed, but focuses on how these two friends rely on each other and grow through life's blessings and adversities. It’s an entertaining film aimed at adults.

Sisi & I (2024)

Direction: Frauke Finsterwalder
Country: Germany / Austria / Switzerland 

The fourth feature by German director Frauke Finsterwalder, Sisi & I, is a work of fiction inspired by historical reality. Co-written by Finsterwalder and Swiss author Christian Kracht, the film centers on the relationship between Empress Elizabeth of Austria, a.k.a. Sisi, and her last lady-in-waiting, the Hungarian Countess Irma Sztáray. 

Late in the 19th century, Irma (Sandra Huller) travels to the Greek island of Corfu to serve the reclusive, sometimes jubilant, sometimes moody, but often manipulative Empress (Susanne Wolff), overwhelmed by the demands of her duties. Desperate to avoid returning to court, Sisi’s constant fight against boredom is eased with cocaine elixirs, the occasional visits of her free-spirited friend, the Archduke Ludwig Viktor (Georg Friedrich), and her special bond with Irma. Yet, intense depression soon interferes with her leisure life.

Not as dynamic and provocative as Marie Kreutzer’s Corsage (2022), which explores similar territory, Sisi & I strikes a balance between the classic and the modern, especially through the sets and the anachronistic soundtrack - the charm of Portishead’s trip-hop gem “Glory Box” inundating the opening scene is undeniable. 

In her unflashy version, Finsterwalder chooses a common route, staging the story in her own terms and bringing some curious details into the fold. She makes a gracious, if occasionally tedious, effort to portray two frustrated women, modern for their time, who find refuge in a singular friendship. Despite its unevenness and tonal fluctuations, the film unpacks a feminist manifesto on power, sexuality, independence, allegiance, and sometimes cruelty. The sharp cinematography by Thomas W. Kiennast and the costume design by Tanja Hausner are assets, but the well-groomed film itself is a minor vehicle to deliver Huller's sober but firm performance. 

Love Lies Bleeding (2024)

Direction: Rose Glass
Country: USA

Directed by Rose Glass, the director of the critically acclaimed Saint Maude (2019), Love Lies Bleeding is a muscular and psychologically probing feminist thriller with a 1980s look and neo-noir moods inspired by films like The Wrestler (2008), Bound (1996), and Crash (1996). Working from a script she co-wrote with Weronika Tofilska, Glass manages to achieve a fulfilling narrative arc anchored by surprisingly complex performances and a surreal tinge that works both for and against the film.

This is the type of cynical crime entanglement where everyone is implicated in some sort of scheme. It is centered on the ardent lesbian romance between a lonely gym manager, Lou (Kristen Stewart), and a promising bodybuilder, Jackie (Katy O'Brian). Love conquers all, but the atmosphere in town is heavy, potentiated by vindictive characters with destructive emotions and actions that often lead to violence and death. 

The film’s primal instincts are nihilistic and brooding, but it’s not short of ideas. The finely honed script plays like a greasy bucket-load of uninhibited dirtiness through its rougher patches, and I mean that in the nicest possible way. Stewart and O’Brien have a palpable chemistry, while Ed Harris is phenomenal as Lou’s creepy father, an arms dealer with influential connections to the local police.

Glass’ sophomore picture is not as masterfully visceral as Saint Maude, but the rising filmmaker reveals herself as a gifted portrayer of emotional intimacies and wrenching acts of violence.

Problemista (2024)

Direction: Julio Torres
Country: USA

Problemista is the directorial feature debut by Salvadoran-American Julio Torres, who embraces fantasy to tell the story of Alejandro, an aspiring toy maker from El Salvador who struggles to keep working and living in New York. Torres himself portrays the main character.

After losing his job as an archivist for FreezeCorp - a company specialized in freezing terminally ill humans to be awakened at some point in the future - Alejandro desperately finds a new sponsor for his work Visa and easy gigs on Craigslist to stay afloat. The solution is Elizabeth (a red-haired Tilda Swinton in top form), a neurotic, washed-up art critic whose painter husband (the rapper RZA) has been frozen.

The film flows stonily, with an offbeat vibe that often seduces, yet the wittiness is not a constant, working intermittently. The film is stronger on the dramatic side, with its best moments tapping into a sadness and disappointment with the world that most people will relate to. Swinton’s unbeatable delirium is a perfect foil for Torres’ apathetic confidence in a well-acted surrealist comedy whose main strength is the mood. 

Problemista is only partially satisfying and easy to overlook, but hope is its last word - even if it means achieving things forcibly - and some aspects addressed are so true that they stay with you. It surely could have been better, but this is still a positive debut for Torres, who hired Isabella Rossellini as the film’s narrator.

The Vourdalak (2024)

Direction: Adrien Beau
Country: France

With The Vourdalak, newcomer filmmaker Adrien Beau draws inspiration from Alexei Tolstoy’s short story, creating an exhilarating celebration of the gothic style. Despite the low budget, the director lets his imagination soar, crafting a human-seized puppet to represent the vourdalak, a sort of proto-vampire that spares not even his own family. He also gives voice to it.

The story follows the inquisitive Marquis Jacques Antoine Saturnin d’Urfé (Kacey Mottet Klein), a noble emissary of the King of France, who loses his way in the woods after being attacked and robbed by bandits. He finds refuge with a strange, cursed family. 

The director and cast waltz through this sinister tale with bizarre, ritualistic steps. The minimalist decor, complemented  by effective cinematography, creates an atmosphere reminiscent of another time, moving between eerie medieval mysticism, patriarchal dominance, and ridicule. However, the film's theatrical staging leaves uncertain whether it aims to be a campy homage to cult vampire black comedies or a nightmarish horror odyssey. 

Retractable fangs fail to deliver a significant bite, resulting in an outrageously fascinating failure that could have been a laugh riot. Enthusiasts of mysterious old tales and legends can go for it, but they’ll have to adapt to and accept this peculiar aesthetic, which can sometimes be coarser than expected.

Furiosa: a Mad Max Saga (2024)

Direction: George Miller
Country: Australia

Furiosa: A Mad Max Saga is the fifth installment in the Mad Max franchise and a prequel to Mad Max: Fury Road (2015), exploring the early life of Imperator Furiosa. Anya Taylor-Joy plays the title character with passionate commitment, bringing to life a new heroic figure in Gorge Miller’s post-apocalyptic universe. Kidnapped by wild motorcyclists, Furiosa falls into the hands of warlord Dementus (Chris Hemsworth) before left at mercy of another tyrant, Immortan Joe (Lachy Hulme). As she grows up, revenge becomes her sole focus. 

Miller does not reinvent the wheel here, and the film is not entirely satisfying. However, a few sequences may leave you holding your breath. Despite CGI imagery increasing artificiality - some scenes resemble Dantesque animated sequences - the action surpasses the basic plot. This cult-film venture oozes blood, motor oil, and biter tears in an incessant chaos set against desert backdrops. I'm just worried it's not good enough considering its potential.

Bouncing around to sometimes memorable effect, the film only soars intermittently, amassing tension ahead of a climax that might feel underwhelming. It’s consistently caustic and dynamic, although never outright challenging.

Shayda (2024)

Direction: Noora Niasari
Country: Australia

Noora Niasari's Shayda delves into a compelling drama that draws from the Iranian-Australian director's own childhood experiences. Executive produced by Cate Blanchett and featuring Zar Amir Ebrahimi - the protagonist of Holy Spider (2022) - as the title character, the film centers on a young Iranian mother fighting for custody of her six-year-old daughter (Selina Zahednia) in Australia after enduring years of domestic violence. Seeking refuge from the aggressor, Hossein (Osamah Sami), mother and daughter find shelter in a women’s refuge.

The topic is greater than the film, which, unfolding with honesty, exposes patriarchal issues in Iranian society with familiar tones while carrying a universal appeal. An unremitting sense of anxiety pervades the realistic scenes, constantly charmed by Ebrahimi’s strong presence. 

Shayda may feel a bit clunky in places but that can't stifle the sheer force of the emotion it evokes. Niasari's admirable feature debut serves as a tribute to her mother and all the courageous women of Iran.

Coma (2024)

Direction: Bertrand Bonello
Country: France

From the director of Nocturama (2016) and The Beast (2024), Bertrand Bonello, Coma is a challenging avant-garde drama with eerie tones and experimental flair. Matured and shot during the Covid lockdown, the film resulted as an expansion of a short film, aguishly exposing a world that is manifestly out of balance.

Louise Labèque, who previously collaborated with Bonello in Zombi Child (2019), portrays a teenager whose mind wanders while confined indoors. Her interest is piqued by Patricia Coma (Julia Faure), a YouTube influencer who advertises and sells a cubical object called The Revelator, leading her to experience hypnotic, if anxious, dream states. 

Coma isn't a film you can digest right away; it's a movie to enjoy or detest, at your leisure. While some may find it occasionally transfixing, others might struggle with its prolonged nightmarish limbo, which the film accurately portrays. It offers a radical reflection on isolation and the current state of the world, presented as an overstuffed pastiche with references to demons, possessions, psychopaths, serial killers, self-control, freewill, obscure dreams, and poignant realities.

While its major problem lies in the excess of disparate elements, scattered techniques, and tangled ideas, which oscillate between banality and provocation, Coma remains an open work of art with something to say about a very specific and significant time for humanity.

Inside the Yellow Cocoon Shell (2024)

Direction: Thien An Pham
Country: Vietnam

Inside the Yellow Cocoon Shell, the debut feature film by Vietnamese writer-director Thien An Pham, is a lethargically narrated drama with an abstruse title and extended duration. It takes some time to adjust to the director’s contemplative gaze, framed with a static camera and faintly stirred by spiritual consciousness and casual dialogue.

This journey of self-discovery follows Thien (Le Phong Vu), a Saigon-based man who returns to his rural Vietnamese village following the tragic death of his sister-in-law in a motorcycle accident. Assuming temporary guardianship of his 5-year-old nephew, Dao (Nguyen Thinh), Thien embarks on a solitary road trip in search of his estranged older brother, a former seminarian who abruptly abandoned his marriage. During this time, he also reconnects with Thao (Nguyen Thi Truc Quynh), a former flame who has since become a nun and teacher. 

While some viewers may desire a quicker pace and more dynamism in the process, the film's simplicity proves hypnotic, drawing parallels to the works of directors like Tsai Ming Liang, Apichatpong Weerasethakul, and Jia Zhang Ke. Pham skillfully navigates between dreamlike sequences and grounded realism, exploring the complexities of the human soul in all its conflicted feelings and persistent memories.

Ultimately exhausting, this pale tale releases tension with a conclusion that leaves us suspended in reflection. Inside the Yellow Cocoon Shell is a genre unto itself, demanding patience and introspection without veering into complete abstraction. Although strangely immersing, not everyone will be invested in the questions it poses.

Arcadian (2024)

Direction: Benjamin Brewer
Country: USA

In its second collaboration with actor and co-producer Nicolas Cage, director Benjamin Brewer (The Trust, 2016) brings us a post-apocalyptic horror tale set in a world overrun by lethal nightly creatures that frantically clap their jaws before massacre anyone in their path. Cage portrays Paul, a vigilant father of two teenage boys, the impulsive Thomas (Maxwell Jenkins) and the resourceful Joseph (Jaeden Martell), whom he instructs in defense techniques and survival strategies. When Thomas fails to return from the nearby Rose Farm before nightfall, panic ensues, and danger looms both inside their farmhouse and beyond its walls.

Arcadian rightfully earns its place among contemporary apocalyptic films, kept engagingly off-balance between horror tale, family drama, and teen romance. The special effects and characterization are awesome, but the tale risks running out of ideas at some point. However, it denotes a firm command of tone and decent visuals. The creepy, original monsters are a motivation and a mystery; Cage, who is revealed to have a special ability to return from the dead, discloses the bravest of the hearts; while the youthful energy and recklessness of the boys inject vitality into the story. 

The handheld camera work may be a minor drawback for some viewers, and opportunities for deeper exploration of character dynamics and the catastrophic events could have been better utilized. Nonetheless, Brewer's direction demonstrates unwavering commitment, resulting in what is arguably his strongest work to date.

The Listener (2024)

Direction: Steve Buscemi
Country: USA

The first directorial effort from Steve Buscemi in 15 years, The Listener, centers on a helpline volunteer named Beth (Tessa Thompson, who also produced). Her soothing voice seeks to comfort people grappling with various issues in their lives such as loneliness, frustration, depression, boredom, rejection, guilt, and even mental illness. It’s a one-actor movie with a simple narrative that unfolds over the course of a single nightshift during the Covid pandemic, a time when the demand for telephone counseling services increased massively.

Beth experiences different feelings with each caller. Sometimes she gets interested in a certain topic, or she might feel a chilly sense of discomfort when her interlocutor becomes aggressive. Moved by the hope she puts in the next call, Beth is capable of relating deeply with a person to the point of opening up about her own life and traumas. Each segment offers a bit of a fractured American society, touching on issues like medical insurance, guns, corrupt systems, war trauma, and mental illness. This juxtaposes the tranquility of the home setting with the tension of the conversation. 

Buscemi’s focused direction maintains the same tonal palette throughout, but these segments are engaging enough to keep you invested. However, The Listener won't be a film we'll remember a year from now. This model of low-budget filmmaking is not a compulsive watch like The Guilty (2018), a pure thrilling experience, but is rather enveloped by a slightly tense melancholy that reveals more about this caring young woman. You'd need a flinty heart to ignore her valuable work here, and Thompson carries the film on her shoulders with candidness and conviction.

The Promised Land (2024)

Direction: Nikolaj Arcel
Country: Denmark / Germany / Sweden

Mads Mikkelsen stars in The Promised Land, the best possible send-off for the actor as a low-key but tenacious protagonist. In this historical period drama set in 1755 Denmark, he portrays Captain Ludvig Kahlen, a tenacious former officer seeking permission from the Danish court to establish a colony on Jutland, a barren moorland. However, he faces opposition from the sadistic Fredrik de Schinkel (played by Simon Bennebjerg), who lays claim to the land.

The film, based on 2020 book The Captain and Ann Barbara by Ida Jessen, counts on the strong supporting roles of Amanda Collin as a brave housekeeper and Kahlen’s lover, and Melina Hagberg as an orphan girl traveling with a group of Romani gypsies. What the director Nikolaj Arcel (A Royal Affair, 2012) has in spades is the ability to find lyricism amid squalor. Certainly, the film is grim in many ways, but the true story is made irrefutably cinematic in its lavish, painterly visual detail.

Still, there are self-indulgences and an occasional excess of sentimental expression, especially in its latter third, leading to an awkward ending. The truth is: it didn’t move me in the end, but it’s guaranteed to give you the chills, reminding you of the ruthless deeds of those driven by greed and power. Laced with the emotional heft of the epic classics, the film is sure to satisfy movie-going audiences looking for tension-filled historical dramas.

The Taste of Things (2024)

Direction: Tran Anh Hung
Country: France

Under the direction of Viatnamese-born French director Tran Anh Hung (The Scent of Green Papaya, 1993; Cyclo, 1995), Juliette Binoche and Benoit Magimel deliver stellar performances, showcasing an almost transcendental chemistry in The Taste of Things, a meticulously crafted historical romance suffused with gastronomical delights. Adapted from The Passionate Epicure by Swiss author Marcel Rouff, the film unfolds within the walls of a castle in Anjou, centering on the intimate relationship between gourmet restaurant owner Dodin Bouffant (loosely based on Anthelme Brillat-Savarin) and his cherished chef Eugénie, who serves him devotedly for two decades.

Slowly cooked, this bittersweet cinematic offering invites moments of profound empathy through its well-drawn characters. Delicate, understated, and occasionally poignant, each scene is captured with constant care and refinement, resembling colorful, realistic paintings. The dishes  tantalize the palate but, despite the passion of cooking and love, the film is laid-back, occasionally feeling overly staged and lacking intrigue, risking monotony across its 134-minute duration. However, Hung balances these potential shortcomings with narrative simplicity and visual splendor.

The Taste of Things may not move mountains, but all in there is grace and melancholic bliss, making it a sensory experience worth savoring.

How to Have Sex (2023)

Direction: Molly Manning Walker
Country: UK / Greece

In this conventional coming-of-age drama film, written and directed by debutant English filmmaker Molly Manning Walker, the narrative subtly questions consent and explores the emptiness of youths rushing to embrace adulthood. The film delves into sexual and emotional disillusion, unreliable friendships, and ultimately hope. It starts as a lascivious, energetic romp with quick editing but evolves into a hard-nosed, somewhat schematized summer adventure before the too easy ending. 

The plot revolves around three British friends - Tara (Mia McKenna-Bruce), Em (Enva Lewis), and Skye (Lara Peake) - who embarks on a trip to a party resort in Malia, located on the Greek island of Crete, with the intention of having fun. Tara, in particular, feels the societal pressure of still being a virgin, and the film explores how the 'dream' surrounding a first sexual experience often falls short of expectations.

While the initial segment may not be particularly surprising, the film gains more depth as the real problem emerges, exposing those gray areas associated with the topic with realistic perception. What you thought would happen, does... with no less traumatizing nuance that, for moments, takes the form of a sun-and-sea-kissed nightmare. Despite moments where the plot feels like a rough draft, the tension simmering beneath the surface is undeniable. The way the 16-year-old protagonist is tempted and entrapped is portrayed with authenticity, and McKenna-Bruce capably conveys the emotional tumult associated with such a transformative experience.