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On this page: HOLY COW | VIET AND NAM | WE ARE FAHEEM & KARUN

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See also: SHADOWS FILM FESTIVAL | Last update 23.Mar.25

Holy Cow Vingt Dieux
Review by Rich Cline | 4/5

dir Louise Courvoisier
prd Muriel Meynard
scr Louise Courvoisier, Theo Abadie
with Clement Faveau, Maiwene Barthelemy, Luna Garret, Mathis Bernard, Dimitry Baudry, Armand Sancey Richard, Lucas Marillier, Lorelei Vasseur, Damien Bilon, Jean-Marie Ganneval, Herve Parent, Marine Pasculin
release Fr 11.Dec.24,
US 28.Mar.25, UK 11.Apr.25
24/France 1h32

CANNES FILM FEST

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Scrappy and full of life, this French comedy-drama follows a messy teen boy through a rather sudden coming of age. Filmmaker Louise Courvoisier captures scenes with unblinking honesty, guiding first-time actors who create complex, flawed characters who are sometimes painfully easy to identify with. This is largely because we can see where their hearts are amid their chaotic outbursts, and because they're trying to do the right thing.

In a dairy farming village in the countryside, 18-year-old Totone (Faveau) takes absolutely no responsibility for his outrageous drunken escapades with his pals Jean-Yves and Francis (Bernard and Baudry). Then his life takes a turn, and he becomes responsible for his observant 7-year-old sister Claire (Garret). Taking a job in a local cheese factory, he falls for the boss' daughter Marie-Lise (Barthelmy), even though he has a long-standing feud with her brothers (Richard and Marillier). Trying to get ahead, Totone decides to produce his own comte cheese, mainly so he can win a competition prize.

Bursting with youthful energy, the film's characters express themselves through lust, bravado and riotously unstable emotions. So it's fascinating to watch Totone's journey through the narrative, starting out as a careless good-time boy and ending up with a sense of purpose and direction. But his spirit is undimmed, as are his connections with the people around him, even if they've been through some upheaval in the process.

Because they are newcomers, the actors have a raw authenticity that pours out of them in a range of interactions. Faveau bristles with charisma, deeply likeable even though he looks almost achingly young and makes one bad decision after another. The actor allows the audience to see Totone's soul, which brings each of his relationships to life. Barthelmy is terrific as the no-nonsense Marie-Lise, who has also had to grow up quickly. Her chemistry with Faveau is both spiky and sweet.

This is a skilfully observed movie that finds unusual honesty in portraying teens as both children and adults, boldly taking charge of their lives even if they don't always get things right. The depictions of sex are particularly authentic and unusually realistic, especially as things don't always go to plan. And the film also takes a remarkably open-handed view of life in a French farming community, never simplifying things in any way. But at the centre, this is a simple tale of a boy becoming a man, and it wins us over completely.

themes, language, violence, sexuality 11.Feb.25

Viet and Nam
Review by Rich Cline | 4/5

dir-scr Truong Minh Quy
prd Bianca Balbuena, Bradley Liew
with Pham Thanh Hai, Dao Duy Bao Dinh, Nguyen Thi Nga, Le Viet Tung, Le Ho Lan, Khanh Ngan, Trinh Van Hong, To Thi Kim Thuy, Nguyen Duc Anh Tam, Tran Xuan Ninh, Pham Huy Anh, Nguyen Cuong
release UK Mar.25 flare,
US 28.Mar.25
24/Vietnam 2h09

CANNES FILM FEST
TORONTO FILM FEST
LONDON FILM FEST

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Right from the opening shot, there's a sleepy, dreamlike quality to this film that becomes mesmerising, especially as dreams and visions feature strongly throughout this story. Shot on 16mm film, cinematographer Son Doan's eye-catching imagery mixes earthy beauty and grainy authenticity. And the narrative unfolds in the characters' faces. This is a resolutely gentle film, and viewers who can follow its quiet rhythms will find it darkly involving.

As they work deep underground, 25-year-old miners Viet and Nam (Pham and Dao) have bonded deeply, seemingly to the point where they're unsure where one ends and the other begins. They also steal private moments to spend together in the tunnels. Above the surface, Viet works with his mother Hoa (Nguyen) along the river, wondering about his father, whose remains were never found after the war. Veteran soldier Ba (Le) might be able to help find them, so all four head into the forest. Meanwhile, Viet and Nam are thinking about where they'll go next.

Comedic touches puncture the serious tone, adding an enjoyable contrast to the thoughtful dialog and extremely slow pace. It's an elemental and tactile film, conveying the physical feelings of a variety of settings, as well as the touch of a loved one. Extended sequences play out with softly gliding cameras, warm lighting and understated emotionality, all of which can sometimes be challenging to stick with. But a number of surprising moments keep us on our toes.

Performances are understated but expressive, with voiceover sometimes allowing us to hear thoughts. Pham and Dao have superb chemistry, reacting and speaking almost as one voice, while showing real tenderness for each other. When Le's soft-spoken Ba asks them why they're not married, they clearly wish he means to each other, but they reply that they don't have time to look for wives.

While the meandering nature of this film makes it feel very long, offbeat scenes abound, including a bit of ear cleaning and a visit to a skeleton museum. With its statues and performance art, a war memorial in the countryside is particularly haunting. And at the centre, the film is tracing the relationship between these two young men as they and their nation navigate a rather grim, hopeless space between their past and future. [15 themes, language, violence, sexuality] 23.Mar.25 Cannes/Toronto/London/Flare

themes, language, violence, sexuality 23.Mar.25

We Are Faheem & Karun
Review by Rich Cline | 4/5

dir Onir
scr Fawzia Mirza, Onir
prd Deepa Mehta, Onir
with Tawseef Mir, Akash Unnimenon, Bashir Lone, Sana Javeid, Mir Salman, Nehaan Bial, Aleena Khan, Satya Prakash, Prashant Singh, Hardik Soni, Aniket Ghosh, Diyettima Ganguly
release Ind Nov.24 diff,
UK Mar.25 flare
25/India 1h21

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From India, this is the first Kashmiri film to openly explore sexuality. As with his 2023 drama Pine Cone, filmmaker Onir uses a gently understated tone to focus on internalised thoughts and feelings. The film is strikingly well shot in spectacular locations, while the actors deliver warm, honest performances. So without overstating anything, the film creates a vivid sense of how a culture can sometimes feel like a prison.

Returning from university to his village in the mountains of Kashmir, Fareem (Mir) is stopped at a checkpoint by friendly young guard Karun (Unnimenon), whose family is arranging his marriage. But Karun is interested in men and can't get the charming Fareem out of his mind. When they learn that the spark is mutual, they know it must remain secret, especially with gunfire in the distance and a masked gang of violent youth on the prowl. Indeed, the chasm between their Muslim and Hindu backgrounds makes it look like they can never be together.

Subtle melodramatic touches add emotions, continually referring to larger societal issues and history. Faheem's brother Ziad (Salman) battles with anger at the Muslim community's lowly status. Karun's colleagues only talk about women. And a romantic song plays over a cute montage of Faheem and Karun growing closer as their friendship deepens, leading to furtive contact between their fingertips. All of this paints a lovely portrait of life in this corner of the world, without obscuring the problems.

Both Mir and Unnimenon have a smiley charm that cuts through the serious edges of situations that ripple with tension. The actors are terrific at wordlessly conveying the connection between Faheem and Karun. Even the way they secretly text each other while going about their daily task is played in a sweetly engaging way. And when they are alone, their interaction is tender and tentative, rippling with chemistry.

While the central relationship is easy to follow, there are a lot of other issues that remain further under the surface. This contrasts with Faheem's mother, who is outspoken about her open-minded views on politics and religion, believing that the world and humanity have more in common than the things that separate them. This is a very delicate film that pulls us in and makes us think.

themes, violence 19.Mar.25

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