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Both Christophe and Misa are fascinating, and sharply well-played to convey subtext in their interaction. Paulau's Micha is aggressive and insistent, ignoring rules and appealing to something animalistic in Christophe. By contrast, Ricard gives a more internalised, thoughtful turn as a man who perhaps has hidden his sexuality and is now expressing it for the first time. Their often silent interaction is riveting, as they slowly reveal their feelings. And scenes with Micha's patient coach and Christophe's dying mum (Roy) add textures to their performances, digging in different directions.

It would be easy to cut 45 minutes from this film and give it a more razor-sharp kick, because the story is interesting, and the ideas are boldly explored. The film is challenging the usual conceptions of image, dominance, class and even romance. This adds emotional resonance to the narrative while creating some startlingly dark suspense. So the shifting scenes between Christophe and Misha offer various provocations, playing on genre expectations while twisting the ethereal connection between these men in surprising directions.

themes, language, sexuality, violence

7.Sep.20

The elements are vaguely interconnected through Mehmet, whom Onal invests with sleepy-eyed likeability, even if he's never particularly sympathetic. More engaging, Arici's Yasemin is an alert young woman with no life choices, but she hasn't given up trying to escape. As her father becomes a more literal monster, her scream-queen moment packs a dark emotional kick. And another intriguing sequence has parents (Saglam and Cakman) bickering about how to raise their young son (Yadiger). Perhaps deliberately, none of the story threads feel finished.

Rather than a 1984-style cautionary tale, this film is clearly describing the situation that already exists in Turkey, where independent media are being curtailed as the government works to eliminate freedom of thought. The film touches on a wide range of issues, but Behram is clearly more interested in unnerving the audience with intense sights and sounds. The meta-question is whether Behram opts for an easier kind of horror because he's trying to subvert his country's censors.

themes, language, violence

1.Oct.20

Lefebvre is relaxed and bracingly realistic as the lively Alex, fascinated by death but terrified of corpses. His energetic physicality brings each scene to life, especially combined with his openly emotional connections to the people around him. He and Voisin have a wonderfully relaxed chemistry together, and Voisin gives the restlessly charming David just enough of an edge to keep him mysterious. While Bruni-Tedeschi steals her scenes, as always, the side actors bring surprising textures.

Essentially this is a story about a young man learning that love isn't necessarily as pure as he thinks it should be, and that there's a gap between the person you fall for and who they actually are. Indeed, these two likeable young men see their relationship from different perspectives. And while there are some seriously sad moments along the way, the film is ultimately hopeful in its outlook, a comment on how truly connecting with another person can't help but give us more clarity about who we are.

themes, language, violence

7.Aug.20