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Servillo is delightful as the wry, observant Mariano, who never takes himself as seriously as those around him, even as he falls for the constant flattery. At the end of a long legal and political career, he longs to clarify his life's unfinished business. And it's the Pope (Zeyenouin) who urges him to find his lightness. Servillo and Ferzetti create a lovely father-daughter relationship. There are also terrific rhythms in his scenes with Cinque and the riotously scene-stealing Marigliano.

Dorotea sardonically reminds him that he doesn't really need him, he just needs "more time to reflect". After dodging thorny issues throughout his political career, Mariano must now grapple with personal things he has always sidestepped. Sorrentino packs the movie with gorgeous sequences that explore the lines between love and hate, life and death, pride and regret. He also boldly uses camerawork and music to continually surprise us with resonant kicks to the gut. And in the end there's a gorgeous note about how embracing doubt can offer a sense of weightlessness.

themes, language

19.Oct.25 lff

Because Panahi only uses non-actors who play the scenes spontaneously, everyone on-screen feels strikingly realistic. We can identify with each of their clashing perspectives, and we never believe that these people are killers, even as they passionately express their violent urges to even the score. So the situations spirals from witty black comedy to something much more earthy and emotional as events spiral in unexpected directions.

What's most intriguing here is how acts of kindness begin replacing the quest for retribution. The anger and pain never dissipate, but the true natures of these very different people begin to reassert themselves after the initial flare of powerful emotion. So while Panahi is unflinching in his criticism of brutal officials whose actions spark even more violence, he skilfully leans into how all of us are yearning for a better life. And how difficult it is to find one in a world like this.

themes, language, violence

22.Oct.25 rome

Always wearing sunglasses, Marbeck gives Godard the swagger of a young man doing his dream job even as he hasn't a clue what he'll do next. He's amusingly dismissive, but also trusts his cast and crew to do their best work. Deutch is luminous as the sparky Seberg, who worries that this will be a disaster. She and the likeably goofy Dillin beautifully capture Seberg and Belmondo's sparkling chemistry. And the steady parade of people around them, including named movie icons, is simply wonderful.

Through all of this, there's a sense that Godard never expected his movie to be very good; he was only trying to prove that there are other ways to express yourself on film. This creates a superbly layered camaraderie among the cast and crew, unsure but happy to go along for the ride and give it their all. This turns a witty pastiche making-of movie, and Breathless itself, into a celebration of artistic voices that refuse to march to the usual beats.

themes, language

18.Oct.25