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Elgerd and Andersson give staggeringly raw performances as young men trying to make sense of this conflicting collision of feelings. After three years together they know each other well, but they have contradictory perspectives on everything. The barriers between them are painful, and both actors cleverly underplay scenes to add simmering intensity even in moments that are otherwise relaxed and hopeful. And the more controlling Adrian takes all of this much harder than Hampus, which becomes difficult to watch.

But then witnessing the disintegration of an already broken relationship is never easy. The way the film is written and played makes it impossible for the audience to take sides, except perhaps if there's a point of personal identification. Both of these men recognise the issues that scuppered their relationship, and they can't escape doubts about the reasons they split. Fardmar offers a provocative edge as these issues impact potential new connections. And he also reveals an unsentimental, positive future.

themes, language, sexuality

16.Jan.21

The dialog is so blunt, and the interconnections between characters so cheesy, that there's not much an actor could do with this. But the cast members make the most of some earthy and comedic touches along the way, plus a bit of insinuating banter. It helps that Chadov and Fyodorov are beefy hero types, with Ilyashenko and Ivanova providing badly needed sparky-tough femininity. Everyone else is fairly growly and macho, including the Kutepova. So the conflicts between the characters have no real traction.

There are some pointed thematic touches here and there, such as the way people begin rioting because they're sure the government is lying about the unfolding global situation. And the over-complicated explanation about what's happening notes that the human obsession with procreation and violence will lead to the planet's destruction. But most of this exposition is just fanboy-style blather. And frankly, the crazed attacks, massive shootouts and alien fistfights are a lot more entertaining.

themes, language, violence, sexuality

27.Dec.20

Maiwenn's performance is easy and engaging. Neige is a woman whose love for her grandfather triggers a desire to understand herself more deeply, and her journey isn't what she expects. Ardant is wonderful as her diva-like mother, whose reactions are larger than life. Their big confrontation is provocatively moving. Francon also has a fascinating role as her relaxed, eccentric father. Garrel is terrific, as always, as Neige's straight-talking confidant. And in the earlier scenes, Robert creates a superbly vivid character, a lively young man who's particularly close to his grandfather.

The complex layers of feelings in this film are remarkable, touching on a variety of aspects of what makes us human and connects us to each other. Maiwenn places bracingly strong moments throughout the story, which unfolds organically. And since it remains earthy and warm, the impact is unusually compelling. This isn't a momentous drama, but it's a quietly powerful exploration of the lingering impact of the people and places that make us who we are.

themes, language, violence

31.Dec.20