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As Ana, the charismatic Basbousi reveals fascinating layers of bravado and compassion. His interaction with these teens is sometimes harsh, simply because he's challenging them to think through their beliefs. And he also clearly cares for them deeply. Three or four of the kids stand out from the crowd with their remarkable skills at rapping, singing and dancing. But it's their internal journeys that are the most haunting, as they desperately want to make the world a better place than their parents created for them.

This makes the film a wonderful expression of hope. While the dialog grapples meaningfully with the Muslim faith and issues of poverty and gender discrimination, it pointedly avoids the thornier theme of sexuality. There are hints of relationships among the characters, but Ayouch avoids depicting anything overtly while carefully noting that within this culture it may be important to take some respectful small steps rather than overthrow everything at once.

themes, language

26.Apr.22

Relaxed performances match the film's breezy tone, remaining grounded and sympathetic. Marceau has terrific off-handed charm as a woman rediscovering her passions and putting her past into context. Her growing connection with Woodell's likeable John is enjoyable, even if it resembles a standard romcom. Marceau also has terrific chemistry with Bouzyani, who camps it up without becoming a gay cliche. His journey may also be predictable, but it has its own involving impact.

Azuelos clearly loves Los Angeles, skilfully showcasing a range of gorgeous locations. The humour is of the real-life variety, gently poking fun at the ironies of the modern world. This allows several strong, serious issues to bubble up, often surprising the characters. One recurring theme knowingly depicts how disappointing long-awaited reunions can be. Although thankfully, that's not always the case. The film also reminds us that we need to bring joy into our lives, not to help take our minds off the darker times but to put them into perspective.

themes, language, sexuality

25.Apr.22

Nobody seems to be acting at all. Argento is superb as the blithely dismissive husband, putting off decisions about not just their living situation, but also about his openly acknowledged mistress (Bruand) and his new book about the dream-like qualities of cinema. Lebrun is also excellent as she wavers between lost and lucid, going about her daily routine with a vague (or sometimes razor-sharp) understanding of her own condition. And Lutz also has a strong presence as their seriously troubled son.

As outside observers, we see the potential for calamity everywhere around this fragile family, which adds an undercurrent of growing terror as the situation develops. And things get very dark indeed as Noe follows these people in some very bleak directions. What's most remarkable about the story is its complete lack of the usual sentimental hopefulness seen in most movies about dementia and mortality. This unflinching film is continually grounded in its realistic perspective, letting us find ourselves in each moment. It may be chilling, but it's so honest that we can't help but be exhilarated as well.

themes, language

19.Apr.22