On this page: AND THEN WE DANCED | MATTHIAS & MAXIME | NON-FICTION

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Performances are earthy and realistic across the board, making the movie feel almost like a documentary, especially in dance rehearsal rooms where the actors demonstrate their physical skills. In every scene, young Gelbakhiani adds a sense of curiosity and energy in his interaction with everyone around him and also in a range of dancing styles, from traditional to street to nightclub. Valishvili is a scene stealer as Irakli, and stirs in some intriguing subtext too. But then each character feels bracingly full of complex life.

Filmmaker Akin tells this story with a punchy sense of authenticity, both in the lively rehearsal rooms and on spirited nights out, plus a particularly fraught weekend in the country. Each scene works together to build a strong picture of a society in which male and female roles are strongly proscribed, and any variance is unacceptable. So watching Maleb fight against himself is hugely involving on a variety of layers.

themes, language, sexuality

7.Oct.19 lff

Dolan has electric screen presence as the optimistic, misunderstood Max. With his facial birthmark he's understandably suspicious of strangers, so the collapse of his friendship with Matt leaves him lost. But this is revealed in subtext, as Freitas also stares into the middle-distance while Matt grapples with what he knows he should do. His performance is harder to read, so it feels that Matt is wallowing. Of the supporting cast, Dorval is of course magnificently complex, and Dickinson brings intriguing layers to McAfee.

He also gets to speak the film's thesis, which gurgles subliminally through all of the other scenes. In fact, it's easy to miss. The idea that sexuality is an aspect of nature at odds with culture is a powerful one, and Dolan might have explored this more evocatively if he had started at the midpoint of this narrative and continued on further. Because as is, the film is vivid and edgy, packed with beautifully played moments and some real emotion. But it ends just when it begins to get properly powerful.

themes, language, violence

2.Oct.19 lff

Each actor brings a casual realism to his or her role, which makes the messy interconnections entertaining. Canet plays Alain as a man fully aware of every secret those near to him are keeping from him, but he won't admit that he knows, so he drops hints in his words and actions. Binoche gives Selena a terrific vitality, even as she feels like her life has become stuck in a direction she can't change. And Macaigne has a wonderful hangdog charm, hapless and needy but always likeable.

Refreshingly, Assayas doesn't have a point to make, other than the idea that even as the world changes people remain the same as always. So for all of the conversation about tradition and progress, not throwing out the things that work and adapting to new realities, the film really seems to be saying that shifts in culture are impossible to define. They're a lot of fun to talk about, but talking gets us nowhere. And relationships remain the defining aspect of humanity.

themes, language, sexuality

25.Sep.19