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Because of the observational filmmaking style, the actors all look a bit stilted, straining to convey their moodiness. Keeve has a nice presence but, even with crying jags and pained stares, he doesn't give away much about Jason's inner life as he sabotages his own feelings. Palomino is engaging as a troubled young guy who repeats mistakes, afraid his dream career is slipping away. The connection between these two wounded men is intriguing, played with some offbeat rhythms.

At the centre of the story is Jason's belief that the music he is writing taps into some sort of energy force. So he feels responsible for an earthquake, for example, and also thinks he can cure someone's cancer. This never quite makes sense, but continues to impact the story in vague ways. The script also resists settling into either the romantic or parent-child strands, so the momentum begins to feel off-balance with random sequences and unfinished plot points. But the idea that healing comes through love, not violence, is a powerful one.

themes, language, sexuality, violence

30.May.20

The characters' vivid textures create some intrigue. Mayall is superb as the desperate, hapless Jeff, who warns Hart's watchful Haley that there will be "no crazy" tonight. Although she seems to be the least bonkers person at the table. Wilson has the scene-stealing role as a smirking jokester, and Sage and Doleac flex fatherly authority as they recount sinister stories. Meanwhile, Williams and McCuin flood the screen with feminine energy that oddly seems to have malevolent intent.

But then each moment is loaded with intent. So it's strange that deeper themes remain out of reach, aside from one reference to the "untouchable elite" and the awkward mix of misogyny and female empowerment. Rambling speeches and anecdotes are delivered in such unnatural ways that they're impossible to follow, so they only drag the running time beyond the breaking point. The one salient, involving story (Haley recounting a horrific family tragedy) is interrupted by pointless flashback fragments. So in the end, the camp sensibility and indulgent filmmaking become merely tiresome.

themes, language, violence, sexuality

31.May.20

The acting matches the filmmaking style, with offhanded, realistic characters interacting on a variety of levels through relatively uneventful days. Dafoe brings an unnerving authenticity to Tommaso, a complex man scarred by his past and prone to letting his his mind wander far and wide. Each moment is seen through his eyes, and he remains recognisably real and also elusive. He's both creative and insecure, lashing out at anyone who crosses him while also following inappropriate urges.

The odd rhythms of this film are fascinating, continually delving under the surface to reveal jarring thoughts and feelings. Although this is the specific mindset of a straight white man with a far-too-vivid imagination. So as the film delves deeper into Tommaso's mind, it becomes increasingly difficult to identify with him. And some of his actions make him impossible to like, especially in the heart-stopping final act. As a provocative portrait of a troubled man, the film is mesmerising. But it's a relief when it ends.

themes, language, violence, sexuality

1.Jun.20