On this page: ADONIS | ATLANTICS | THE RACER

< < F O R E I G N > >

There's slightly more clothing in the film's final act, allowing He to provide more insight into his character, even as the story turns surreal. He skilfully internalises Yang Ke's odyssey, which makes him an engaging character to follow, even if the swirling structure continually pushes us to the outside looking in. Each of the other characters feels like a fully formed person, although they never reveal much. Apart from him, only Shaw's Sister Yin emerges with any real depth in the offbeat closing sequence.

There's a driving sense of fatalism here, as Yang Ke remembers his childhood, raised by his single mother (Miao) and Yin, who predicted his future. As a story about the meaningless of free will, the film feels indulgent, especially as it deploys some heavy-handed Catholic and Buddhist imagery. And also as Scud tries so diligently to make it both artful and pornographic. But the fact that he's tackling such weighty issues in a way that's creative and provocative makes it a film worth looking out for.

themes, language, violence, sexuality

14.Nov.19

At the centre, the riveting Mane makes Ada both feisty and moody, funny and surly, clear about what she wants, even if she knows there's little hope things will work out for her. It's never clear why Omar's rich family has chosen this poor girl, but Sylla also has a steely presence as a guy who knows not to tangle with this young woman. Mbow is another standout, making Issa both sharply intelligent and oddly listless as this illness drags him down. And Ada's hilariously pushy friends offer a range of angles on the issues.

There's a sense that Diop is frightened of some of the story's implications, which makes for a few awkward plot elements. But emotions are so strong, and issues so important, that the film still digs deeply. Without preaching, this is a bracingly honest look at the growing income gap around the world, as the wealthy take advantage of the vulnerable, who take increasingly desperate actions simply to survive. So the romance at the story's centre is provocative and moving.

themes, violence

6.Nov.19

Astonishingly, Willaerts never tries to make Felix sympathetic, maintaining his stubborn mindset as a world-class athlete entitled to be the best. It's also, of course, a gruellingly physical performance, with spiky rivalry flaring between Felix and everyone around him. Because of the tight point of view, other characters are understandably more simplistic, although De Graeve gives Mathieu a vivid internal life of his own. And their scenes together have fierce energy.

Mercken uses voiceovers to get inside Felix's head, hearing both his thoughts and the words of others that echo in his head. He also intercuts flashbacks in a disarmingly seamless style. Each scene maintains an edgy realism, intercut in jarring ways that keep the approach internal rather than centred on the bigger issues. In the final act, the film begins to lose focus, just as Felix does, carrying on only because it's pointless to stop now. Again, this is a brave direction for Mercken to take, because it focusses on how it feels to discover the ugly truth about something you've given your life to.

themes, language, drugs, violence

28.Sep.19 rff