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Malakos is excellent in a tricky role as a young man who is coping with anxiety and hoping to find a romantic connection, trying to convince himself he deserves love. This friendship with Alex helps boost his confidence. But Fritzelas' Alex has his own textures, expressed in tiny glances that reveal inner doubts. Because of Dianne, and feels guilty about how close he is feeling to Aeneas. And this leads to further complications later when Aeneas gets an audition for a New York company and the story comes full circle.

Dance performances in a variety of settings are beautifully choreographed and performed, making the film a tactile experience that's especially impressive with the unflinching masculine energy between Aeneas and Alex as they spin and lift each other. But at its centre, this is a story about Aeneas learning to let go of his fears and love himself, which will allow him to accept the love of someone else. This may not be an original message, but it's rarely delivered with this much warmth.

themes, language, sexuality

18.Mar.24

The likeable Kaur has terrific spark on-screen, as Azra bristles against Muslim traditions, and also as her mother did earlier. Their rebellious streaks are infectious, cheeky and genuinely yearning. And the wonderfully charismatic Bucha is terrific as the older Mariam, who has learned to embrace her roots. The interplay between this mother and child is vividly performed, with additional textures in the relationship with Mariam's mother Amira (Rana) in each of the three periods.

Throughout the film, there are multiple layers of meaning between a wide range of characters, and the multi-strand structure sometimes makes it tricky to remain engaged with the film as a whole. But each segment has a lot to say about the ways generations are intertwined, even in ways we don't quite understand. And the mix of cultural references makes the film feel fresh and vibrant, reflecting Mirza's singular point of view while offering us several different points where we can identify with people and events.

themes, language

19.Mar.24

Performances are a bit broad, but the characters remain likeable. Both of these women are somewhat stormy, while Madani gives Fa a more zen sensibility that balances Marie Theres' flailing intensity. When faced with casual homophobia, Fa refuses to accept it while Marie Theres runs away. And both are reluctant to embrace love. The entire cast finds nice textures in their characters, digging just deeply enough to add a hint of subtext.

Even if the film feels rather silly, there are serious things going on under the surface that help pull us into the story and identify with the characters. The various entanglements in the plot never seem remotely insurmountable, and Rohrer never tries to make things look terribly difficult. But issues about living honestly and being open to the world around you are gently affirming, and the film's frequent colourful moments elicit a smile.

themes, language, sexuality

19.Mar.24