On this page: DIVINE LOVE | PATRICK | VANGUARD

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Paes delivers a fascinating performance as a woman who simply can't separate her religious beliefs from any part of her life. Her stubbornly obstructive nature at work contrasts with her true-believer devotion at church and her relaxed, loving relationship with Danilo, who is played with hapless likeability by Machado. They face each test with an earthy resilience, including the way they enter the partner-swapping rituals. And the crisis they go through has an intriguingly biblical echo to it.

Filmmaker Mascaro directs this in a remarkably matter-of-fact way, with long takes that make the most of the cleverly designed settings, from the bustle of Joana's government office to the pink-hued tranquility of the church. So the sex scenes are strikingly realistic, explicit without any lurid embellishments. And while the more shocking elements will bring attention to the film, it's the darker dramatic scenes that grab hold, recounting an involving, emotional journey that never overstates its staggering implications.

themes, language, sexuality

16.Nov.20

Deadpan performances lace the minimalistic script with witty touches, as does the fact that everyone is blithely unclothed. At the centre, Janssens is terrific as the inexpressive, ludicrously focussed Patrick. He's a gentle soul who believes his master furniture craftsmanship is "just tinkering". Hoekstra has a nicely complex role as the only person who gets Patrick at all. And Clement is hilariously self-absorbed. Others in the cast provide plenty of interest and intrigue along the way.

This is a fiendishly clever parable about the way we avoid important things while giving all our energy to something relatively trivial. Even though these people are all vulnerably naked, there's a delicious irony in the way they hide themselves from each other, leading to a rather wonderfully staged brawl and some surprising emotional moments. There are also some twists in the tale as events unfold, and as Patrick begins to understand that taking control of his life isn't going to be easy. But he'll be glad he did it.

themes, language, violence, sexuality

12.Nov.20

The pace is so hyperactive that none of the characters gets a chance to resonate. The always engaging Chan charges around making deals and directing the troops, the also gets stuck right in the middle of every battle. Yang's Lei is both hugely likeable and fearlessly heroic, charming women, children and villains at every turn. He's a terrific leading man, gifted in the way he uses his lanky physicality. Xu's Fareeda is the only other character with texture, veering hilariously from brilliant to panicky to courageous, as needed.

Everything in this frenetic film is so over-the-top that nothing quite registers. Mammoth gun battles are numbing, and it's clear from the start that basic laws of physics don't apply, so any sense of peril is an illusion. Then the climactic action sequence throws in everything from a fleet of solid gold luxury cars to a gigantic murder-drone. But even if there's no suspense, at least it's a nutty guilty pleasure.

themes, language, violence

12.Nov.20