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With her enormous belly, Farooq is instantly sympathetic, raising our concern as she becomes increasingly agitated. Her reactions to everything that happens and everything she discovers are bracingly realistic, revealing a clear-thinking young woman who clearly has no intention of taking what's coming without a fight. This essentially turns her into a reluctant hero, an admirable figure we genuinely root for. And everyone around her feels equally authentic, with their own motives adding wonderfully to a deliberately off-kilter atmosphere.

With its sins-of-the-father themes, the film actually finds some new things to say about the fallout from colonialism, pointing a finger at the generations that continue to enjoy benefits from centuries of looting while refusing to acknowledge the guilt of their forebears. Yes, there is a need to look forward, but only if we stop pretending that that we don't know what got us here. And while it's certainly entertaining, perhaps this film's grisly solution is a step too far.

themes, language, violence

28.Aug.23 frf

Within this fantastical atmosphere, performances are remarkably grounded, so the actors are able to find vivid resonance in their connections with each other. Tucci's engaging William longs to reconnect with his father, whose memory is fading. William's connection with Alexander's thoughtful, charming Aliki is enjoyable to watch. Douka's Marianna kicks into action, fiercely protective of her batty Granny (Papatheodorou). And as the soulful Naris, Symsiris gets the most emotional moments.

Because there are so many story threads, there are all kinds of themes swirling around in this film, including yearnings for love, settling issues from the past and coping with regret. All of these are echoed in the monsters that emerge to ravage this community, while the various plots also feature references to mythological tales. The effects work is impressive and very effective. Although as it heads into the over-extended climactic battle, the film gets more than a little messy. Even so, we can't help cheering for this unlikely group of outcasts.

themes, language, violence

27.Aug.23

Performances have a deep emotionality, as actors explore motivations and reactions. At the centre, Dillon is naturalistic as Nathan, a sympathetic figure who doesn't certainly isn't due the agonies of hell for mercifully ending his terminally ill wife's life. Manon's Nina is more of a proper demon child, but she manages to layer in some childish innocence amid her outrageously privileged criminality. And Kolb brings huge emotions to Julia's ordeal, offering an unusual portrayal of denial as a mother who can't accept her own failures.

These deeper ideas make the film involving even as it all feels somewhat random and meandering. The three stories have some referential links between them, but offer very different angles on the central idea of paying hellish penalties for the peccadillos we commit during our lives. And it's this moralistic element, which is perhaps deliberately incendiary, as it were, that leaves the film feeling unnecessarily grim in the end. Still, as a provocation, Quarxx has made something memorably surreal.

themes, language, violence

26.Aug.23 frf