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Most characters are unable to disentangle concepts of faith, morality, truth and justice. As Saeed, Bajestani finds nuance without being sympathetic. It's a bold performance that reveals Saeed's vile soul, especially in complex scenes with Jamshidnejad and Taleb as his wife and teen son, both excellent. Meanwhile, Amir Ebrahimi gives Rahimi an inspiring tenacity that balances her prickly personality, revealing years of enduring aggressive sexism. So her intrepid actions take on extra layers of heart-stopping resonance.

Rampant hypocrisy and misogyny infuse this narrative, and Abbasi squarely faces up to both grisly murders and ideological collisions. In Saeed's astonishing trial, the public sees the 16 female victims and Rahimi herself as the villains. So while the violence is hideous, the pervasive self-righteous dominance is even more disturbing. The police and religious leaders believe the killer is cleaning the streets for them. And because they all relish their power over women in varying degrees, Abbasi, unlike the Iranian system, refuses to let the men off lightly.

themes, language, violence, sexuality

1.Dec.22

Commare is seriously adorable as Antonio, especially as his wide-eyed naivete begins to give way to confidence. Even when he gets a bit cocky, he's still likeable, so it's easy to root for him as he makes his way through various encounters. His chemistry has terrific textures that are specific with Saurino, Valdarnini and Adorni, each of whom is able to add layers of interest to his character. Playing things a bit more broadly, Giraud (as Antonio's oldest friend) offers some amusing moments of her own.

In a moment of lucidity, Denis advises Antonio that as he grows up he should give up on his childish expectations and set his own rules for moving forward with life. But Antonio needs to learn to take advantage of opportunities, rather than running from challenges. And the film is a reminder that true romance is only possible when you don't have to give up who you are to be with someone.

themes, language, sexuality

9.Dec.22

With a staggeringly committed performance, Thomas is hilarious as a middle-aged man whose ridiculous swagger still works its magic on his ageing audience. There's something oddly endearing about a pathetic man who's oblivious to his own flaws, even as he indulges in the unthinking racism that was passed down to him from his Nazi father. And the variety of characters around him is so strikingly realistic that none seem to be actors at all.

While this is a lacerating portrait of a has-been artist living on the fumes of his moderate success, Seidl has much bigger issues to explore around the edges, where North African and Middle Eastern refugees crouch in doorways or look on from a distance. Even Tessa's Arab boyfriend (El Rahman) remains silent, lurking intently in the background with his crew of fellow migrants. Yes, there's a growing sense that this is actually a film about how Europe has abused and ignored the world around it for far too long.

themes, language, sexuality

12.Dec.22