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Heard is a solid actor, but as a writer-director spends too much time having other characters tell him how youthful and talented he is. Still, his performance makes Jamie intriguing, especially in the earthy interaction with his various friends. His scenes with De Luca have a skilfully textured father-son intimacy that shifts into a sometimes corny romance. But both actors navigate this shift adeptly. Of the colourful side characters, the standout is Bower as an observant, snarky boss. And Laguette offers some well-timed comic relief.

The film is well-shot in lovely locations, which helps make up for the slack editing and flimsy musical score. And the dialog has a genuine simplicity to it that lets the audience see both Jamie's and Ben's internal issues. The story is exploring the push and pull between relationships and personal goals, and it refreshingly resists offering any glib answers. It's also a gentle reminder of the dangers of pushing things down inside and withdrawing from the world.

themes, language, violence

12.Jul.20

Prentice brings a superb stillness to Naomi, staring out into space and speaking in a hushed whisper, always offering the sense that there's something much deeper going on inside. Whenever she momentarily snaps out of her funk, she adds a brisk kick to the film. Opposite her understatement, Ritthaler has a difficult role playing things up and driving the plot in circles around her. He seems like a sympathetic figure, but Naomi isn't so sure. So neither are we. The other characters never quite materialise, deliberately.

Adding underlying resonance, Naomi's cryptic condition echoes clinical depression, leaving her unable to engage with anything or anyone. This is further entwined with her blurred sexuality, which adds an additional thematic slant. With clear nods to Inception, the narrative feels overlong and never quite comes into focus, but the revelations and questions in the final act are bold and fascinating, adding some bonkers science into the mix. It's all rather cool, although its brainy/nonsensical details essentially strip away any thematic and emotional connections.

themes, language, violence

6.Jul.20

O'Sullivan plays Bridget unapologetically, a careless young woman doing her best regardless of what others think. It's fascinating to watch her endure criticism as if she's heard it all her life. So an encounter with a successful university friend (Ward) is chilling. Meanwhile, O'Sullivan builds fizzy, complex chemistry with the bright young Williams, who's already a gifted scene-stealer. And she creates telling moments of comedy and drama with the excellent Alvarez, Mojekwu and Lipchitz in smaller roles.

There's not a lot to this film's narrative, as it quietly glides through a series of essentially minor everyday events. The film's momentum is expressed in the growing connection between Bridget and Frances, and Bridget's dawning sense of purpose. Around this are subtle but important comments about the female experience, including motherhood, relationships, depression, independence, sexuality and abortion. It's rare to see a film so openly explore these things without sensationalising them.

themes, language, sexuality

9.Jul.20