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Both Re and Baron underplay their roles. Even with the pointed looks at each other, juxtaposing themselves physically in ways that are strikingly suggestive, and then crossing an unspoken line, they maintain an almost contemplative tone: these are normal guys uncertain of how to behave around each other. Physically and emotionally naked, both actors bring ripples of honesty to each scene, never shying away from the more difficult aspects of the characters and following through on their subtle performances right to the clever, intricate conclusion.

As characters deepen, there are some story elements that offer conflict and stress from unexpected places, further straining this secretive relationship. At one point, Juan looks at Gabriel and says, "Don't make me explain myself as if you were my girlfriend," offering a striking observation on the depth of machismo in this culture. And where the events go is telling on a variety of levels, especially in the personal journeys of these two men who are struggling to find their place in a world that simply doesn't allow them to be themselves.

themes, language, sexuality

17.Mar.19

The superb sprawling ensemble is anchored beautifully by de la Torre, who brings a focussed, thoughtful approach to the quick-thinking Manuel. He offers telling reactions to everyone from his panicky fellow politicians to his tetchy wife (the terrific Lopez). It's only when he's on his own that he lets his guard down, revealing his true feelings. Around him are a cast of terrific Spanish middle-aged actors, shining in even the smallest roles.

Because the film is set in the homes and offices of high-fliers, it seems to be saying that yes, crime pays, but it also leaves you looking over your shoulder. With a pounding electronic score (by Olivier Arson), the audience's pulse is racing almost as quickly as the characters, leading to a breathless final act. These people say they care about their nation and their party, but are really only out for themselves. This is so recognisable, that it makes this one of the scariest movies of the year.

themes, language, violence

28.Jul.19

Thankfully, the gifted cast members make the characters hugely compelling. Rogowski is a superb leading man, likeable and intelligent as he subtly conveys Georg's complex internal thought processes. His connections with both Driss and Marie are also played with unexpected textures, refusing to go as expected. Batman is strongly magnetic as the lively Driss, while Beer has a wonderful femme fatale presence as the always-in-motion Marie. And even the side characters add some vivid colour.

Petzold's direction is so laser-focussed on Georg's journey that each obstacle along the way feels like a personal affront. This means that the dramatic momentum is continually interrupted, as things cycle back around or run in place, which puts a drag on the narrative. The story is a detailed depiction of how people are forced into extreme action by forces out of their control. And Petzold's approach is original enough to continually catch the audience off guard, provoking some difficult conversations. But it never quite grabs hold dramatically.

themes, language, violence

25.Jul.19