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Merlant plays Jeanne with a youthful intensity, a woman who knows that she's an outsider but never doubts her inner voice. It's a remarkably full-on performance, bristling with humour and emotion in each encounter with both humans and inanimate objects. Her scenes with Bercot are particularly complex, balancing security with misunderstanding, so there are expertly played flurries of both love and pain. And both Bouillon and the more sympathetic Louwyck have some powerful moments of their own along the way.

There will be a clear resonance for LGBTQ+ audience members, recognising the onslaught of misplaced expectations, doubt, concern and pushy intentionality. Thankfully, Wittock remains committed to this particular story, never overstating any deeper thematic meaning. Jeanne's journey may feel a bit repetitive, and sections of the movie lack a sense of momentum, but the final act is beautifully written, directed and performed by the entire cast, challenging nonbelievers to confront their own fear and hatred.

themes, language, violence, sexuality

25.Jun.21

Performances match the relaxed pace, playfully revealing details each step of the way. Magouliotis gives Victor a slightly wound-up intensity, as if whatever he's keeping secret is eating him alive. While Weil's likeable know-it-all Matthias is a nice guy who can't help but get involved in Victor's deeper issues. Their slow journey to understanding and romance evolves naturally, quietly catching both by surprise. And as their motivations become clear, the increasing complexity makes each subtle turn of events resonate strongly.

There's a fascinating edge to this story in how Victor struggles to trust Matthias, always second-guessing his actions. So the film's fluid photography and editing weave insistent momentum into the narrative without ever being obvious about it, pushing Victor to deal with his own insecurities. Where the story goes is refreshingly complex, resisting expectations in the way events play out. There are no glib answers, only thoughtful questions, plus an insightful depiction of the simple healing power of human connections.

themes, language

11.Mar.21

The deadpan performances are effective, drawing us into the interaction while revealing subtext and underlying tensions. Giorcelli skilfully plays Maria Jose as a young woman who might be unhinged, rewatching her favourite movie, cuddling her guinea pig and matter-of-factly noting that she gave up her acting ambitions to care for their father. She's also rather too-attentive to Magdalena, who is played by Cervino with wary intensity. By contrast, Sigal's Jesus seems chillingly oblivious to underlying tensions, videotaping everything and brandishing father's rifle.

As the events spiral unpredictably, some dark family secrets emerge that put various elements of the story into unnervingly clearer context. And the film that Jesus is making is a further deep dive into some rather twisted themes. Most of this subtext emerges in dialog rather than through the imagery, which is a stagey touch that puts a drag on the pacing. But there are some clever cinematic flourishes, as Blousson and Garcia push the boundaries and send this warped family dynamic right over the edge.

themes, language, violence

24.Jun.21