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The bromance between Janik and Samuel is powerfully played by von Schonfels and Mulugeta, keeping things tight but skilfully understated. Their performances remain complex and full of textures as they explore their bond through a series of parties, nights out and several unexpected challenges, most notably a transgressive drunken encounter between Janik and Behrens' mercurial Irene. In Istanbul, Uslu adds even more charisma as a fast-talker who adds several wrinkles to the boys' journey.

Director Catak uses surreal, dreamlike touches to augment the emotional undercurrents, sometimes as a deliberate provocation. When they get away from home, Janik and Samuel find the freedom to interact on more equal terms, relying on each other as they change their lives together. Getting past what has happened isn't easy, but they consistently show up for each other and clearly have a deeper attraction to as well. Which adds some remarkable intensity to the more emotional scenes.

themes, language, violence, sexuality

8.Nov.21

The four central actors give their roles vivid personalities that echo through their attitudes and physicalities. Ocio's Nacho is open and to-the-point, while Sanchez gives Denis a loose, life-loving quality that bounces nicely opposite Bleda's artistic and sensual Carmen. By contrast, Ribera's businesslike Marta remains sceptical about the whole process, bearing the pressure from her family. She feels that children give meaning to marriage and life itself. Scenes in which Marta bonds with Carmen are beautifully played. And Ocio and Sanchez create some intense chemistry together.

Even if the film holds us at arm's length, there are warm and engaging currents running all the way through, adding unexpected textures to the interaction between characters. It's fascinating to watch Nacho and Denis re-discover their youthful passion and affection, something they've pushed aside for decades. And the secrets that emerge are compelling and haunting. Less interesting are the more melodramatic clashes, which feel heightened and rather unconvincing. But the exploration of crippling but subtle homophobia is provocative.

themes, language, violence, sexuality

12.Nov.21

Each of the actors gives a remarkably transparent performance, centred around Josephine Sanz as the curious, tenacious Nelly. She has a beautifully layered connection with her mirror image Marion, played with equally likeable inquisitiveness by Gabrielle Sanz. Their silly play-acting and a moment of giggle-inducing cookery are hilariously entertaining, and when Nelly tells Marion the truth, Marion takes it in stride, intrigued to learn things from the future. Meurisse, Varupenne and Abascal also bring emotional power to their scenes.

Along the way, Sciamma finds sweet moments without ever sentimentalising them, and she keeps the emotions raw and sometimes painfully honest. Each character adds subtle hints about a range of bigger issues, such as Nelly's tomboy tendencies and Marion's fragile physical and mental states. The film allows these young girls to be alert and intelligent, agents in their own maturity who are able to understand blindingly complex situations on an instinctive level. And they still know how to be silly enough to make each other laugh.

some themes

15.Nov.21