On this page: THE LOVE THAT REMAINS | ROMERIA | TWO PROSECUTORS

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The actors find unexpected rhythms, creating characters with layers of personality and emotion. Gudnason plays Magnus as a man who feels like he's being removed from the family he loves, which increasingly isolates him from his identity. By contrast, Gardarsdottir plays Anna as a woman who embraces her new personal freedom, especially in her work. And each of the siblings also has his or her own vivid internal life. As does the family's outrageously engaging dog Panda, who very nearly walks off with the entire film.

Scenes are staged and played in ways that continually offer insight, both visually and thematically, into the underlying feelings these people find it difficult to express. Some of these images are a bit on-the-nose, such as leaving Magnus adrift at sea, awaiting collection by a passing boat. But both the wider implications and the more intimate realities carry a powerful punch. So even if we're never sure what has actually happened to tear this family apart, the honest emotions are vividly resonant.

themes, language, violence

18.Sep.25

All of this is seen through Marina's eyes, swirling past and present together in an effort to provide some clarity about her background. Garcia has an easy likeability that creates superb camaraderie with each of the people she encounters along the way. Aside from Mitch's effortlessly charismatic Nuno, there are friendly but very different uncles (Ulloa and Gracia) and alert but very different aunts (Gallego and Casasnovas). So family scenes bristly with messy authenticity.

As with her previous films, Simon infuses this story with elements from her own life, and the autobiographical detail makes everything feel bracingly honest. This also puts Marina's internal quest into perspective. The question for her is whether learning new information about her parents changes who she is. Of course it doesn't. But it does give her clarity about how she wants to move forward and who she wants to be.

themes, language, nudity

18.Sep.25

This idea infuses the film, thanks to Kuznetsov's wonderfully open-handed performance. It's clear that Kornev is a straight arrow, so everyone treats him as a threat. But Kuznetsov played him as someone who simply believes that justice will always prevail over evil. This makes us root for him even though it's obvious that he might as well be tilting at windmills. The smiling backstabbers he faces are unnervingly confident in their ruthless power.

By contrast, Filippenko gives a grippingly soulful turn as the veteran party member who is now a prisoner of the people he put into power. And of course this cuts to the core of how autocratic systems work: because they rule based on fear, they always destroy their own. It's both amusing and chilling to see these ideas presented in such a deadpan way on-screen. And it leaves us shaking our heads at how stupid even the smartest people in the world can be.

themes, language

18.Sep.25