On this page: DIAMANTINO | JUST FRIENDS | KNIFE + HEART

< < F O R E I G N > >

To his sculpted Cristiano Ronaldo physique, Cotta adds terrific naivete. Everyone takes advantage of him because he's too nice and too dim to resist. It's a difficult role, and Cotta balances it skilfully, especially as Diamantino copes with rather shocking changes and finds first love, all without sacrificing his simple optimism. Tavares is also excellent as a big-hearted woman seeking the truth. While the other women are fairly monstrous, led by the evil twins and a wicked government minister (Barrios).

The political campaign Diamantino is being used in without his knowledge is a hilarious mishmash of Brexit and Trump. The filmmakers also knowingly lampoon sporting hero worship while, just for fun, stirring in elements of a Bond-like masterplan, which unfolds with a cheeky sense of gonzo humour as it builds to a violent climax. Enjoyably, the savvy political jabs feel offhanded, as the focus remains on Diamantino's much more personal, engaging coming of age. It may be rather uneven and nutty, but its sweetness is disarming.

themes, language, violence, nudity

15.May.19

Stradowski and Mardo bring layers of interest to two young men who are uncomfortable in their own skin; together they relax and open up, interacting playfully as they make a physical and soulful connection. Their rockier moments also feel authentic, grappling with how they fit into the world and together. It's may seem simplistic that, to deal with emotions, Joris turns to booze while Yad turns to weed. Thankfully, this never becomes a plot point. And it's nice that Jess and Oral also get to add complex textures to the mothers.

Smit and writer Burger are sensitive to everyday ripples of bigotry, from smirking homophobic idiots to those who blame all of society's problems on Muslim refugees. There are also never-pushy comments about the ways we physically abuse ourselves, from inebriation to body-building steroids to plastic surgery. And the film's nicest message is about self-acceptance, finding the courage to face life head-on, without hiding. As Ans says, "Love can't be controlled. It controls you."

themes, language, sexuality, violence

23.Apr.19

Performances are stylistically earnest, which adds to the bonkers atmosphere. Relationships aren't terribly convincing, even though they're nicely played. Paradis sharply plays Anne's yearning to rekindle her connection with Moran's subdued Lois. Although Anne's impassive reaction to the murders is alienating, blank-faced even after nasty visions or nightmares. Each young man swirling around her manages to stand out with a distinct feature that's seized on by the director.

The film feels eerily superficial, never quite finding the core of the story. It's intriguing and nutty, with some superbly evocative moments along the way. And there are hints of deeper meaning. It's probably too much to suggest that Gonzalez is exploiting gay porn to make a comment on the imminent arrival of the Aids epidemic. But that element is here, as is the rise of homophobia as LGBTQ people become freer to express themselves. Still, Gonzalez's approach is strong enough to make this a cult classic.

themes, language, violence, sexuality

29.Mar.19