On this page: NINO | NO OTHER CHOICE | SAUNA

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Pellerin is so likeable and open that we can't help but engage with him, especially because Nino is observant and helpful. Pellerin beautifully plays each gently rolling conversation while hiding what's really on his mind. Scenes with Balibar, Lebghil and Dewaels are particularly nuanced. And at his party, his underlying thoughts are invisible to the lively, smiley guests. Everyone on-screen has a remarkable authenticity, peppering lovely moments throughout the film.

Before he knows what's up, Sofian tells him there's no point in agonising about things, just get on with it. So Nino must decide whether it's better to say nothing to keep things simpler or to take the risk and ask for help. Intriguingly, he's someone who connects easily with others, wearing his heart on his sleeve. It's clear he has never had to think such serious thoughts before, and of course the person he most urgently needs to be honest with is himself. This is a rare film that explores such a serious topic with a refreshingly light touch.

themes, language

15.Nov.25

So while the plot spirals through various bonkers set-pieces, often swirled inventively together on-screen, the film comes to life in deeper things happening inside the characters' hearts and minds. Man-su oozes sweaty desperation, especially with a prolonged toothache, and Lee underlays the goofiness with powerful pathos. So we worry about what these choices are doing to him. By contrast, Son's Miri approaches things in a more coolly calculated way, even as she encounters overwhelming obstacles.

Everyone on-screen includes this level of colourful detail, and each adds his or her own frazzled mental state into a heady mix. With so many people who have their own things going on, we definitely feel the film's extended running time. But because most of the story strands go so badly wrong, we are unable to look away. And even the elements of the plot that end happily have a twisted morality to them that leaves us with something to think about, especially in the pitch-black irony of the final scenes.

themes, violence

17.Nov.25

While William faces his own issues, Johan refuses to accept that health officials might reject William's request to be treated as a trans man. Indeed, Johan continually has impulsive reactions that make it tricky for us to like him, but there's an underlying charm that draws us in. Both Anderson and Rask give honest performances as guys who are only just learning how to live their true selves, so it feels natural that it would be difficult for them to understand each other.

Conversations between Johan and William are soft and pointed, as they share their experiences and encourage each other to move forward. But with so much going, their life together becomes increasingly strained. Unusually, the film allows events to roll along without using pushy narrative points, so we acutely feel the precarious nature of their situation. And the film becomes a striking look at how important it is to love yourself before you try to love someone else.

themes, language, sexuality

13.Nov.25