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Performances have a period theatricality, with strongly intimate touches in the unspoken interaction. Because of the forbidden nature of these relationships, the actors reveal layers of intrigue as men who are only rarely able to drop their guards in private. Prior and Zagorodnii have terrific chemistry, echoing the elemental aspect of Sergey and Roman's connection, especially in the superb offhanded moments. And Pozharskaya gives Luisa an honest, knowing quality that of course makes everything rather knotted.

As the story continues, the themes evolve in various directions, making comments about the dangers of living a lie, especially when you're lying to yourself. It's an bracing exploration of the idea that love and attraction can't simply be willed out of existence. As it cycles through events over several years, the plot feels a little formulaic, scrubbed oddly clean by Rebane's over-lit approach to production, which cleverly makes it look like a Russian movie from the early 1980s. So it's consistently entertaining, and the emotional honesty connects on several levels.

themes, language, violence, sexuality

16.Mar.21 flare

Relaxed, realistic performances add layers of meaning at every point in the story. Silver is terrific as Tunde, charismatic and smart, beautifully engaged with the people around him even as he keeps secrets from them. Tunde is only honest when alone with Soren, and Silver's chemistry with Neville is warm and easy, revealing sharp angles on their relationship and their separate lives. Peltz also has a strong presence in a smaller role, as do Rotibi and Locke as Tunde's busy-but-engaged parents.

Each time the film rotates through the momentous events of this particular day, they are seen from a distinct perspective, shifting the point (and the events themselves) in ways that knowingly highlight the issues and challenge the audience to think more deeply. Each cycle digs further into Tunde's thoughts and feelings, skilfully catching the idea that, no matter what he does or who he is, making it through all of this might be down to luck. And indeed, survival shouldn't be this difficult for him.

themes, language, violence, sexuality

16.Mar.21 flare

The actors hit comedy beats expertly while keeping characters sympathetic and grounded. Barlow is terrific as AJ, maintaining the crankiness while offering glimpses of the life-loving woman she could possibly become. She jumps to conclusions and makes terrible decisions, but is hugely likeable. Especially in comparison to Tina and Lucy, played with nuance as controlling but never monstrous by the terrific Hartley and Di Martino. By contrast, Anderson's Steve adds a blast of genuine understanding. And Smith's Isla is a ray of sunshine.

Morrison gets into the teenage mindset so vividly that the film grabs hold from the start and never lets go. This means that when AJ becomes fascinated by Isla, so do we, marvelling at thoughts and feelings that are both scary and rather thrilling. When the characters start speaking honestly to each other, it's downright nasty. And because of the fresh approach to storytelling, its unnervingly difficult to predict where the story might go next. So the tactile joy in the final act honestly feels revelatory.

themes, language

18.Mar.21 flare