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Binoche's effortless presence makes Eugenie magnetic. She knows her skill but deflects the idea that she's an artist. Rather than join them in the dining room, she prefers to talk to men through the food she prepares. In other words, she knows who she is and who she wants to be. This informs her chemistry with Magimel, which surges between the lines, then blossoms when Dodin cooks her a meal when she's under-the-weather. Her mysterious fainting spells provide a dark counterpoint in the narrative.

"Man is the only animal that drinks without thirst," says one diner as he raises his wine glass. Set among the top echelon of society at a luxuriant period in history, this film celebrates fine cuisine without question, so it feels somewhat detached from reality. But the story is moving and intriguing, connecting the love of food with the reason to live. It feels perhaps undercooked for such a languorous running time, but its gentle pace and depth of feeling are welcome at a time when most movies seem to be in a rush.

some themes

4.Dec.23

Benesch is terrific in a very difficult role, as Carla's sunny positivity is challenged and then crushed by a series of attacks, mainly verbal but also a physical one that leaves her with a literal and metaphorical black eye. In Benesch's expressive face, the toll this series of events takes on this young woman becomes clear, as does her determination to be a positive influence in her students' lives. The adults and children around her are played with sharp authenticity, with Stettnisch particularly impressive as the pressurised Oskar.

This is much more than an exploration of cancel culture; it's a look at the very nature of truth, how facts can be twisted and that perhaps in some cases the facts alone can't tell the story accurately. As this fraught situation evolves to encompass the entire school and the students' parents, there are hints that something more important is driving everything. But Catak cleverly resists giving us an omniscient viewpoint, requiring us to think things through on our own.

themes, language, violence

13.Dec.23

Performances are remarkably introspective, as both Catalan and Rico ground their characters in their real-world situations. This is skilfully contrasted in Roman's film scenes, or when they imagine meeting up rather than just looking at each other across the complex from their respective apartments. Some of these scenes are amusingly played as pastiche porn moments, while the strict isolation, illness and protective gear are knowingly heightened through perspective.

Never flinching from depictions of sexuality or nudity, Hernandez is able to explore ideas about intimacy in remarkably effective ways. Both Roman and Aldo had become used to mindless encounters before lockdown, and being unable to meet in person forces them to connect mentally and emotionally. A sudden plot point in the final act feels a bit contrived and undercooked. This leads to a wistful sequence that's lovely but eerily unsatisfying, even as it makes an emotionally pointed comment on the film's key themes.

themes, language, sexuality, violence

21.Dec.23