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Beautifully playing Alex's sheer determination, Rogowski is both likeable and enigmatic. He's far too quick to throw a punch, but also feels things deeply and stands up to his laddish comrade Francesco (Olivetti). And the way we can see emotions flicker across his face is hugely sympathetic. By contrast, Ndiaye is an explosion of energy on-screen, absolutely riveting and physically imposing even when he's standing passively. Both actors have the ability to convey complex characters without needing words.

It's moving to see Alex become overwhelmed by his memories, transforming himself into the ghost that's haunting him. This gives the film a jolt of sensual energy that's pulsating and almost startlingly involving, even as it begins to turn surreal. Where this story goes is a direct homage to Claire Denis' 1999 Foreign Legion classic Beau Travail. Indeed, Abbruzzese is playing with light, colour and music to create a powerful mood piece. It's a bit loose, but has a lingering kick.

themes, language, violence

29.Dec.23

Milkowski has terrific screen presence as a young man who is escaping violent bigotry back home and is still afraid of his shadow. His wariness remains even as he begins to feel safe with Ivar, who is played with open-handed charm by the charismatic Steinland. The actors create a nicely jagged tenderness between them, as Robert and Ivar provoke each other while finding a safe space together. Side roles are nicely played to add texture, even if these people remain somewhat sketchy.

There isn't much that's original about this story, but it captures a lovely sense of these young men as they navigate the issues in their lives. And the multi-lingual, multi-ethnic cast adds strong narrative textures and a vivid sense of youthful physicality. While it's sometimes frustrating that the employment drama leaves the romantic story feeling somewhat undercooked, the real-life pressures are very easy to identify with as they threaten each of these characters in distinct ways.

themes, language, violence, sexuality

29.Dec.23

Intriguingly as a writer-producer, Scamarcio reins in his usual charisma as Cesare, a tough-minded strategist who admits that obsession drives him. There are occasional moments of charm, as he dominates the film completely, and he also creates jagged chemistry with both Bruhl (as a relaxed, observant rival) and Bruch (as a stubborn cohort). And with Clarkson-Hill, whose character is the daughter of a driver who died in a crash, there's a hint of discussion about why anyone would do this.

The narrative will feel very familiar to anyone who has seen Rush, Ford vs Ferrari or Ferrari, as ambition leads to triumph that's emotionally tempered by fatal accidents. The usual questions linger about whether any sport is worth pursuing if someone might die. And for Cesare this is more about business, gaining glory and success for his company by defeating a global monolith. So while the slice of history is interesting, it's frustrating that the characters remain rather opaque.

themes, language, violence

7.Jan.24