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As Guy, Ogalbo reveals layers of underlying insecurities within a young man who enjoys his aimless life but knows there should be more to it. He has a terrific relaxed chemistry with Rosenblatt, as Joy hints at deeper feelings for Guy before pushing things too far. And Miroshnikov has a strong presence as the enigmatic Dan, who claims to be straight and keeps getting strange phone calls. The question is whether he's dangerous, or if perhaps he simply has his own issues.

This is a contained dramatic thriller with shifting connections between its three central characters. With action mainly limited to Guy's flat, it feel like a stage play. The premise touches on some big topics, from the ubiquity of drugs and sex in the gay scene to the threat of violent bigotry. But it's the edgy relationships that make the film involving, especially Guy's feeling that nobody cares what happens to him. Over one long day and night, these three people take a rather grim odyssey that gets properly unnerving.

themes, language, violence, sexuality

17.May.23

Because most of the scenes are so intense, there isn't a lot of texture in the performances. Even the more relaxed interaction is underscored with underlying drama, but the actors keep the characters grounded in honest emotion. With the widest range of scenes, Costabile gets the meatiest role, facing up to his past, reliving his happiest days and confronting an unsure outcome. Constantini maintains nicely nuanced interaction with him in the extensive flashbacks, while others largely emote on their own or down a phone line.

While Riki is at the centre of the film, the perspective occasionally shifts to other characters as well, offering glimpses into their private lives in an attempt to explain their behaviour. Marrazzo's central point seems to be that people who consider themselves to be good can sometimes cause the most harm, simply because they are unable to escape from the bigotry that surrounds them. These people are trapped in a prison of their own construction, so the path the story takes is dark and grim, and also ultimately moving.

themes, language, violence, sexuality

30.May.23

The actors play scenes straight, remaining within this offbeat reality, which adds to the satirical tone and wryly hilarious humour. Each of the five heroes has a sparky personality that feeds into the larger narrative, and each gets a chance to steal scenes. The deadpan performances add quirky edges to their interaction, livening up each of the freaky little side stories, as well as how they react to Lezardin's apocalyptic plan. This approach grounds the film in a distinctly odd way, stirring everyday banality into a fantastical situation.

Dupieux understands what Hollywood studios don't: that this genre is by nature crazy, and what makes it enjoyable has nothing to do with realism or elaborate effects. So he goes all-in on the unhinged inherent grisliness in the premise, while leaving hints of thematic depth like little bombs here and there. For example, Lezardin argues that he's destroying Earth simply to put a sick planet out of its misery. If only studios embraced the more whimsical aspects of their tentpole movies, they'd be a lot more fun

themes, language, violence

19.Jun.23