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Cacho finds ways to ground Silvio even in the more florid scenes. This helps us see what kind of man he is, complex and a bit messy, although he's also perhaps too resolutely wonderful as well. The actors around him are more naturalistic, which helps make them engaging and individualistic, although none are allowed to fully reveal themselves to the audience. Still, several knowing relational details emerge that help put things into a semblance of context.

Because the film feels like its flailing around, looking for meaning pretty much everywhere, it's easy to miss Inarritu's staggeringly well-staged set-pieces. Indeed, there are several exhilarating sequences, plus a textured exploration of personal identity that touches powerfully on ideas of nationality and the fallout of history. But the film is too restless to let a point settle. And as it heads into a series of stretched-out climactic scenes, all we're thinking about is whether the movie is ever going to end.

themes, language, violence, sexuality

1.Sep.22 vff

While it's not exactly a meet cute, the first encounter between Charles and Mario is played with terrific textures by Liebmann and Dimic. And each actor adds further layers as the story progresses. Liebmann subtly reveals terrific undercurrents in Charles' brutally demanding drills. And Dimic gives Mario unusually observant eyes, more aware of what's going on than anyone realises. When these two macho men finally get together, they seem genuinely surprised to realise that this is actually a romance.

While the lovely narrative ripples with underlying themes, the approach is so pared down that there's little left to think about. There are a couple of glimpses of the predatory behaviour that results from Charles' lifelong repression, but the script carries on without confronting that. That said, When Charles finally speaks openly to Christina, the conversation is earthy and truthful, leading to final act that's sweet and a little corny. So the film finds strong resonance in the way the world has changed, at least in this place.

themes, language, violence, sexuality

26.Aug.22 vff

Performances are so earthy and naturalistic that they feel improvised, especially as conversations are shot in long takes that include tentative pauses. Lee and Cho hint at things these women avoid speaking about in the way they change subjects or let their voices trail off. Lee has such an offhanded approach that it's easy to see that she has a big secret, which she finally reveals almost as if she's kidding around. And Cho skilfully whispers Jeongok's frustration at feeling left out of Sangok's seemingly glamorous life.

Hong's approach is so subtle that it will resonate with each viewer in a specific way. The only even slightly obvious element is a stain on Sangok's blouse that becomes a visual representation of other things she's trying to hide. At its core, this is her personal quest for redemption, which can only come with an open heart. And it's easy to identify with how she's trying to eliminate the uncertainty that has surrounded her for too long. "As long as I can see what's in front of my face," Sangok says, "everything is fine. It's grace."

themes, language

20.Sep.22