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The script takes these things in stride, building a bigger picture of men who are past their prime but still have a lot of life in them. It's thoroughly engaging to eavesdrop as they talk in circles. Each has his own challenges and interests, which the actors bring out with sensitivity and subtlety, plus terrific comical timing. And in scenes with other family and friends, their personalities come into remarkably sharp focus. So while their journey is predictable, there are some lovely surprises.

The film's understated approach is disarming, taking on serious themes without becoming strident. These men want a better life, failing to notice how good they have it. They're not actually poor, for example, as Attilio's daughter (Scoccia) scolds him. Perhaps issues of culture and history are more important than they thought they were. And a contrasting subplot about a migrant from Mali (Khalid) who borrows Giorgetto's shower offers both a low-key counterpoint and timely perspective. And the final shot is genius.

themes, language

8.Jun.20

Garcia has effortless charisma, holding the screen as people are naturally drawn to him, especially when the cumbia is flowing through his entire body. But his strong will alienates strangers, and Garcia beautifully conveys his loneliness. The film stays focussed closely on him, with the other much smaller characters swirling around him to add insight and sometimes connect with him in unexpected ways. Everyone in the cast is equally authentic.

Frias' filmmaking is bracingly alive, packed with fascinating characters and honest interaction as Ulises navigates both his youthful band of friends and multicultural New York. The story's political edge is powerful, as these marginalised young people struggle to assert their identity, seeing authority as intrusive and unjust. In the final act, the narrative slows down and turns inward, and a simmering sadness offers an even more vital thematic kick. The resonant question for Ulises is whether he can truly go home again.

themes, language, violence

20.May.20

Each character in the story makes terrible decisions for sympathetic reasons. Menochet brings his usual hangdog intensity to Michel, in contrast to how Calamy plays Alice's remarkably open-hearted approach to life. Bonnard has a haunted quality as the unnervingly awkward Joseph. N'Drin gives Armand a quick-thinking intelligence that's compromised by his personal desires. And Tereszkiewicz is superb as the tenacious stalker who thoroughly unnerves Tedeschi's strong-willed Evelyne. Their scenes pack the strongest emotional kick.

While the plot hinges on a rather enormous coincidence, it's still a ripping thriller as well as a provocative exploration of how badly we all need to feel needed, and how easily this yearning can warp our sense of reality. The deeper idea is an exploration of the difference between loving and having fun. As Armand's shaman Papa Sanou (Ezan) says, "Love means giving what you don't have." All of which adds depth and meaning to a fiendishly clever dramatic puzzle.

themes, language, violence, sexuality

25.May.20