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Even with the stylised characters, performances are remarkably honest, creating an unusual slice-of-life quality. The film is dominated by Cruz's beautifully layered turn as a woman others worry is too free even as she struggles with social hypocrisy and her own ingrained bigotry. By contrast, Amato's Felice is almost a monster. And Giuliani provides the story's soul as an expressive, intelligent girl who feels like an alien, wondering why her parents "made me wrong".

Activists for trans causes might bristle that the story doesn't continue further, but Crialese is inventively isolating a specific moment in time when the world shifted on its axis for him. Depicted as small incidents and fantasies in a much bigger story, the film overflows with feelings rarely depicted on-screen. So even if things drag a bit in the final act, Crialese finds insight and inspiration in unexpected places, while calling out the nonsensical rules we make for ourselves.

themes, language, violence

4.Sep.22 vff

In the lead role, Dorji is thoroughly engaging, revealing how being separated from his electronic devices forces Ugyen to see what's right in front of him. As his curiosity and compassion are piqued, he begins to understand himself more clearly. And the villagers are also superbly well-played, investing real-life wit into each role. All of them are shameless scene-stealers, even as they remain grounded in documentary-style authenticity. Even Norbu the yak wins us over.

Writer-director Dorji finds a terrific balance between spectacular scenery and more earthy realism, honing in on the humanity in these people who live far from what we usually think of as global society. It's fascinating to see how the locals weave their lives together with their yaks, from the impassioned songs to the dung they use to start their fires. Indeed, their hopes and dreams are basically far more genuine versions of our own, and can perhaps offer us lessons in how to find happiness and contentment.

themes, language

8.Dec.22

Efira fearlessly embraces the character's more prickly traits. Rachel is flippant, pushy and smug, and only slightly softened by her swelling romance with Zem's patient, likeable Ali. She remains tense and distant, insecure about her place in Leila's life and jealous that her sister is expecting a child. She may be trying, such as when she reaches out to a needy student (Lefebvre), but her motives are dubious. By contrast, other characters feel more realistically layered, easier to identify with in their messiness.

Zlotowski's script throws so much at Rachel that it's almost overwhelming, from her jagged but improving connection with Leila to Alice's sudden request to rekindle a relationship with Ali. Because of the film's loud and busy approach, some major shifts happen so quickly that they don't feel fully organic. All of this works together to make it difficult to feel the big emotions that swell up as Rachel yearns to be a mother. But it's worth hanging in there for a strong final point.

themes, language, sexuality

5.Sep.22 vff