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Anthony and Theobold are terrific in these complex roles, quietly depicting tiny shifts in their interaction. Their banter is relaxed and strongly engaged, full of subtle connections as they reveal their opinions and histories to each other. This chateau seems to exist in a different space and time from the rest of the world, as if whatever happens here is irrelevant to their lives back home. And the real truth might be that they're reliving the events of Fontenelle's novel. Indeed, flashbacks depict them as the book's protagonists.

There's a strong theatrical tone to this film, with its limited cast and dense dialog that playfully explores huge ideas. But the way it's shot is skilfully cinematic, adding interest to both of the characters as well as a setting that has its own unexpected revelations. Krimpas makes sure there's plenty of visual interest, notably in the cheeky costumed sequences but also in the contrast between a library full of books and a cluttered attic with its dusty bottle of apple brandy. It's an amusing, beautifully assembled rumination on love, loaded with ingenious provocations.

themes, language

6.Aug.20

The actors are solid, creating characters who force the audience to lean into the story. So they remain engaging even though Tanne seems to have directed everyone to avoid even a hint of energy. Abrams and Reinhart are a likeable central couple, a guy who's never been in love and a girl who lost hers. Their relationship doesn't develop in a smooth line, and the actors dive deep into each pained moment. Side roles are only cursory, barely defined to add some conflict, light relief, diversity or context.

Much of the dialog is eye-rollingly obvious, as Grace sparks Henry's coming-of-age, while he helps her heal and try, falteringly, to move on. This is accompanied by a range of cliches, from the secret abandoned factory hangout to the "teenage limbo" theme of their final newspaper issue. It's all so wistful that the film becomes a dreamy fantasy depiction of teen romance. "Love is a chemical reaction that comes and goes," says Henry's sister (Jones). "But so is heartbreak." Much better is what the story says about how our scars remind us of who we have become.

themes, language, sexuality, violence

23.Aug.20

The stresses in Olivia's life are powerfully felt in Sandoval's performance, from day-to-day worries to her fear of immigration officials. She's a strong woman who fully understands the obstacles she's facing and just gets on with it. And Farren has terrific presence as a nice guy surrounded by loutish friends and relatives who expect him to share their machismo. Alex's own journey is intriguing, and also rather underwritten, but Farren plays it engagingly. And the side characters burst with life around them, but have their own things to worry about.

There are several enormous topics swirling around in this narrative, from the combined issues of transgender identity and immigration to ideas about masculinity, endemic bigotry and fear in society, and the difficulty of making a corrective life changes. All of these things are skilfully observed, even if the meandering plot itself never quite clicks into gear. But Sandoval's open-handed approach makes the story involving as it highlights things few movies bother to tackle in such intimate ways.

themes, language, sexuality

18.Aug.20