On this page: ICEMAN | A TRIP TO THE MOON | YULI

< < F O R E I G N > >

The filmmaking makes it tricky for actors to add nuance, because dialogue is unintelligible and they're obscured by hair and fur. Also, the camerawork is grand rather than intimate. Because Kelab is saddled with a crying baby as he begins his quest, Vogel is able to add some nice textures to the character. Otherwise, it's tricky to understand who people are as Kelab encounters them along the road, although Randau does make it clear, somewhat simplistically, who's good or bad, while also showing some balance in the cycle of revenge.

Grittier than similar prehistoric adventures like Quest for Fire (1981) or Apocalypto (2006), this film has a superb sense of forward motion as Kelab pursues Krant's gang further up into the mountains, where someone is going to end up encased in ice. Because of the way the story is told, 96 minutes feels much longer, but the progression of the plot and the spectacular changing landscapes hold the interest, as does Randau's relentlessly inventive direction. These make it involving and memorable, even if the plot feels rather blunt.

themes, violence, sexuality

12.Mar.19

Performances are somewhat heightened, as each character has one salient personality trait. At the centre, Spinetta is compelling as a rather gloomy kid, although he's not easy to sympathise with when he gives in to his obsession. Bredice has a standout role as an over-involved mother who always seems on the verge of exhaustion. And Torres has the most subtle character, a popular older girl who is jaded but also compassionate, which kind of makes her feel more like part of the fantasy than the reality.

As the film progresses, problems emerge in the narrative, partly because some of the bigger twists seem anticlimactic, while the central metaphor is both indulgently overused and increasingly underdefined. This means that Tomas' internal odyssey begins to go off the rails, widening out into the visual extravagance rather than finding a more engaging personal connection. So in the end, it feels like there isn't much to Thomas' story. And the way Cambre deals with some very dark themes feels a little glib.

themes, language, violence

17.Mar.19

Each Carlos is excellent, starting with Acosta, who cleverly underplays himself, keeping emotions just under the surface while expressing himself through his body. Dancer Elias plays him in choreographed sequences, and has his own communicative, liquid physicality. Meanwhile, Nunez brings cheeky alertness to the young Yuli, while Martinez adds passion for his craft amid swirling emotions. Both are just as expressive with their physicalities.

The film a feast for the eyes, which helps the material brim with resonance. Acosta's journey is genuinely inspirational, partly because he was so reluctant to follow his dream, and it's refreshing to see a movie biopic that avoids sentimentality while maintaining a sense of momentum. It's also packed with much more far-reaching issues that also allow Acosta's story to touch on Latin American history, US political meddling and the European art scene. In other words, it beautifully captures both this hugely gifted man and the world he has so indelibly altered.

themes, language, violence

11.Feb.19