On this page: ARGENTINA, 1985 | ON THE FRINGE | SAINT OMER

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Veteran actor Darin makes Julio feel wonderfully competent; even when he's unsure, we know he's on the right track. His sardonic comments bring harsh things into perspective, and he has wonderfully abrasive camaraderie with his family and colleagues, drawing both strength and inspiration. His partnership with the likeable Lanzani's whip-smart Luis develops beautifully over the case. And as Silvia, Flechner adds fabulously sardonic moments that run very deep. Meanwhile, Paredes gets a show-stealing role as a key witness who resiliently recounts a staggering ordeal.

These true events are important in world history, a pivotal change in how leaders are held to account, eventually. A line in the film equates this trial with Nuremberg, but this is perhaps even more earth-shaking. And what sets this film apart is the way a young legal team bonds over their desire to set the historical record straight, because they are the ones who will inherit the leadership of their country. They want it to be a just place to live. Obviously, they're not there yet, but this first step was massive.

themes, language, violence

3.Sep.22 vff

Cruz gives a wonderfully stripped-back performance as a steely woman unwilling to lose any sense of control. Her inner resolve is inspiring, especially in later scenes with her husband, who has given up. In the focal role, Tosar's bullish Rafael never stops moving, revealing a man who risks his own life to help others. His shifting relationship with Checa's likeably sardonic Raul gives narrative arc to the film. And side roles provide strong moments for the supporting cast.

Botto weaves in real news footage, grounding the chaos in facts. So the constant motion has a compelling kick. At the centre, Rafael's odyssey of police action, protests, bureaucracy, traffic jams and more is grippingly entertaining, mainly because each step along the way reveals something new about the characters and the central topic. And the film gives dignity to people who work multiple jobs while struggling against each impending financial disaster, while the wealthy have the nerve to call them lazy.

themes, language, violence

5.Sep.22 vff

That said, Kagame's tightly internalised performance is intriguing, simply for what it refuses to reveal. It's clear that these events are affecting her deeply, although she has no visible character arc. By contrast, Malanga delivers a stunningly nuanced turn as a young woman who can't explain her behaviour simply because she doesn't understand it herself. Her account of her actions is devastating, and the reactions of the judge (Dreville) and lawyers (Petit and Cantarella) reveal superbly understated emotions.

Diop's approach is deliberately opaque here, provoking the viewer to become personally involved in what's seen and spoken, as well as unspoken. This works beautifully for Laurence's story, especially as it grapples with the way we all use truth and lies without knowing why. But extended flashbacks to Rama's relationship with her mother reveal nothing, leaving an odd vacuum right at the centre of the film. And a glimpse of Pasolini's Medea is so powerful that it almost upends everything.

themes, language

6.Sep.22 vff