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Performances have an understated, naturalistic quality that offers insight into each of the characters, highlighted in the way their interaction with each other shifts and evolves. Schubert is excellent as the miserable loner who watches others have fun while he's crippled by self-doubt. His inability to see what's happening around him is highlighted when the wildfire comes closer, ash starts to fall, and everyone else kicks into action. Uibel, Trebs and especially Beer are riveting as they struggle to connect with him.

The way the story comes together in the strongly emotive final scenes is absolutely stunning, as it offers unusual insight into the creative process and the loneliness that often comes with it. Because of his social clumsiness, Leon isn't a very sympathetic character, and yet watching him find his voice is moving in a way that stops us in our tracks. It's a delicate, provocative, haunting story.

themes, language

13.Jul.23

Even without dialog, the performances remain remarkably subtle, forcing the viewer to lean into scenes seeking underlying thoughts and feelings. So each strikingly photogenic actor reveals these things in ways that are unusually moving, allowing their actions and hidden expressions say what the characters can't. Pelisser has superb chemistry with both Castioni and the charming Wubbolts, creating a terrific balance of lightness and tension between the three central characters as they circle around each other. Each is expressive without ever being obvious.

At the centre of this haunting story is a man who is finally living his life based on who he is rather than who he thinks he should be. He considers this patient the first proper relationship in his life, the first time he felt truly happy. Taking the jump feels unthinkable, even as he questions his tightly held priorities. The film is visceral and involving, even if it remains rather enigmatic. But it finds some powerful truths along the way. "Skin never lies," the protagonist muses about the decision he faces, "it's here and now."

themes, language, sexuality

12.Jul.23

In the first half, Sharizal gets to play some drama, mainly in his warm mentor relationship with Izwandy's eager-to-learn Aisha. The widowed Walid's only child was also kidnapped, so it's no wonder that he snaps. The actor's stocky physicality may not scream "action hero", but his fights are staged and edited with plenty of energy. The only other character who registers is Aisha's mother, played strongly by Tajudin, who gets an early action scene of her own. While the various tough guys kind of blur together.

Walid believes that religion is the answer, teaching children to give love and care to all people regardless of where they are from. Yes, the film is confronting deep-seated prejudice in a society that hates outsiders, including kids. This is what the traffickers invoke to justify their crimes. But after setting the scene with such detail, it's clear that the filmmakers are less interested in the themes or narrative than they are in staging epic fist-fights. Fans of this kind of stripped-down mayhem will love it.

themes, violence

23.Jul.23