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On this page: THE LAST FIRST TIME | SON OF THE SOIL | SOUL SHIFT

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See also: SHADOWS FILM FESTIVAL | Last update 28.Jun.26

The Last First Time El Fin de las Primeras Veces
Review by Rich Cline | 4/5

dir-scr Rafael Ruiz Espejo
prd Rafael Ruiz Espejo, Luna Maran
with Alejandro Quintana, Carlos E Lopez Cervantes, Pabel Castaneda, Jaime Bernache, Mariana Rivas, Mariajose Medeles, Owhen Castro, Karina Hurtado, Paz Toldos, Amelia Guillen, Erick Guillen Torres, Judith Hernandez
release Mex 28.May.26,
UK 17.Jul.26
25/Mexico 1h16

Is it streaming?

Quietly observational, this Mexican drama pulls us into a young man's very personal coming-of-age odyssey. Writer-director Rafael Ruiz Espejo uses close-up camerawork and minimal dialog that feels overheard rather than written, creating an unusual sense of intimacy. The narrative emerges organically through a series of first-time experiences, both joyful and unnerving. It's a strikingly honest, earthy approach to this kind of story, and it's also refreshingly unflinching.

At 18, Eduardo (Quintana) has travelled from his small town to take a university entrance exam in Guadalajara. Away from his controlling mother (Hurtado), Eduardo is finally able to explore his sexuality in the big city. He downloads a dating app, but finds that overwhelming. After taking his exam, he meets fellow applicant Mario (Lopez Cervantes), returning to his home for a family birthday celebration, followed by Eduardo's first sexual experience. Later, they hang out with Mario's colourful friends, who take him to a nightclub. And this momentous evening takes several unexpected turns from here.

As the title suggests, Eduardo makes several discoveries during this trip, including his first tattoo. He also gets thoroughly drunk, which of course lowers his inhibitions. Skilfully shot with a terrific sense of light and colour, Eduardo's thoughts and feelings are plain to see, including the self-loathing his homophobic culture has instilled in him. This combination begins to feel frightening, especially when one encounter takes a dark turn. Through all of this, Ruiz Espejo maintains a loose pace that gets under the skin.

In a naturalistic performance, Quintana has a wonderfully expressive face, and the camera largely remains tight. The way he plays Eduardo's curiosity and hesitancy is bracingly resonant, especially as he finds courage from Lopez Cervantes' more charmingly outgoing Mario. Each character feels bracingly offhanded, interacting with an authenticity that offers glimpses of their individual stories. As Mario's friends, Castaneda and Bernache get strong moments of their own, adding textures to Eduardo's story.

This might feel a bit slight, because it's a slice-of-life film depicting a journey that everyone must take in one way or another. Some of this is difficult to watch, because Eduardo learns some harsh lessons along the way. And there's a vivid struggle between maintaining contact with his mother and striking out on his own. But he knows that he will need to go home at some point. So perhaps this is a glimpse of a more complex future than he had imagined, both hopeful and a bit scary.

themes, language, violence, sexuality 12.Jul.26

Son of the Soil Omo Onile
Review by Rich Cline | 3/5

dir Chee Keong Cheung
scr Razaaq Adoti
prd Andreas Roald, Razaaq Adoti, Ioanna Karavela, Chee Keong Cheung, Wingonia Ikpi
with Razaaq Adoti, Sunshine Rosman, Philip Asaya, Patience Ozokwor, Taye Arimoro, Ireti Doyle, Damilola Ogunsi, Emeka Golden, Ijelu Folajimi, Sharon Rotimi, Kehinde Blaze, James Damilare
release UK 5.Dec.25,
US 6.Mar.26
25/Nigeria Sovereign 1h46

Now streaming...

Described as the most ambitious Nollywood action movie yet, this hyperactive Nigerian thriller charges into its global streaming debut after limited theatrical runs. UK-based filmmaker Chee Keong Cheung deploys wildly saturated colours, rhythmic music and a lot of restless camerawork to take the audience on a white-knuckle ride into the criminal underworld. It's gleefully grisly, and the kinetic vibe helps overcome the somewhat simplistic screenplay and cliched characters.

As a man-made drug called Matrix ravages the streets of Lagos, hotel maid Ronke (Rotimi) is caught in the crossfire, brutally killed by kingpin Dr Baptiste (Asaya) after witnessing a murder. And now her slick, tough-guy brother Zion (Adoti) arrives from America determined to get revenge. He gets details from Ronke's best friend and coworker Nike (Rosman), but Baptiste's henchman Shaka (Arimoro) and his thuggish goons are everywhere. There's also feisty street urchin Remi (Folajimi), who provides unexpected assistance. And inspector Bello (Golden) sees more in this case, taking on corrupt police commander Obi (Doyle).

Shot mainly in closeup, cinematographer Jack Thompson-Roylance's squirrelly camera angles are high and low, slanting to the left or right, but rarely straight-on. This combines with a terrific use of locations to give the movie a gritty, urgent sensibility. So even though we rarely doubt where the plot is heading, the scrappy ambience holds the attention. The film's action beats are sudden and unusually vicious, set in a variety of eye-catching places, including roads, alleys, trains and waterways.

Clearly patterned after John Wick, who gets a namecheck, Zion is a man of few words who can take a punch, bat, knife or even bullet. Actor-writer Adoti infuses him with steely charisma, especially when strutting through the streets in just a hospital gown. He has sparky chemistry with the young Folajimi, who has terrific presence as the smart, matter-of-fact Remi. Especially when she punctures Zion's hard shell. And veteran actor Ozokwor provides emotional resonance as his grieving, worried mother.

Full of predictable genre machismo, the film is intriguingly infused with commentary about the subversion of justice throughout Nigerian society, as officials leave poor people to die in the streets from this fentanyl-like drug. So it's unsurprising that Zion has moved to America. His former criminal cohort Jagunlabi (Ogunsi) tells him that Baptiste is untouchable due to his money, power and fame. So watching Zion violently unpick Baptiste's empire is darkly entertaining, and ultimately satisfying despite the extensive trail of bodies.

themes, language, violence 13.Jul.26

Soul Shift
Review by Rich Cline | 3.5/5

dir-scr Christian Franz Schmidt
prd Thomas Schneider-Trumpp, Esther Trumpp, Johann Frank, Wolfgang Heidrich
voices Tom Zahner, Mike McAlpine, Andrea Dewell, Michael McCown, Leanne Maksin, Mark Rossmann, Moritz Corell, Phil Lewis, Tony Clark
release Ger 13.Mar.26
26/Germany 1h44

Is it streaming?

A feature compiled from an animated German TV series, this raucously colourful sci-fi romp is packed with witty details that will delight genre fans, especially those who love bright-hued line-art nuttiness. From the hilarious mix of colour-coded characters to the wacky scatological touches, this is a sparky, very silly comedy that isn't afraid to get thematically dark. Indeed, writer-director Christian Franz Schmidt packs a lot under the goofiness.

At the heart of the universe, the Almighty creates new planets, assigning each to an evolutionary managers. Respected manager Dew Blue is charged with populating Earth, working with his cat-like friend Sunny Yellow and a pink ball of energy he names Glitter, for obvious reasons. Dew Blue starts sending beings to incarnate on Earth as single-celled organisms, to get things going. But others are jealous of his success, and a secret scheme emerges to undermine his project, which is developing rather nicely. Amid this conflict, Sunny Yellow is shocked at what Dew Blue does next.

Even if the animation style is fairly simple, the design work is packed with details, including a continual stream of amusing throwaway gags. And the characters have sharp personalities too, pushing against each other as their strong wills clash on a range of levels. Even little Glitter emerges as a tough cookie who knows exactly what she wants. Surrounding characters are equally vivid, each with their own signature colour and a mix of ridiculous animal traits, often accompanied by a perky bum.

There are all kinds of existential ideas wafting around amid the absurdities, as the script plays with ideas about being a creator and a creature. Loyalties and rivalries emerge throughout the story, adding some texture to the way the plot unfolds. And there's a strong kick in the way power consolidates to leave the less privileged to a hapless fate. So while the main point here is to simply make the audience laugh at the flatly ridiculous situations and interactions, there are deeper provocations that leave us with something to think about.

themes, violence, violence 23.Jun.26 aff

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See also: SHADOWS FILM FESTIVAL