On this page: CASE 137 | LONDON | POSSIBLE LOVE

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Drucker is a terrific stand-in for us in this story. We feel her growing exasperation at a system that is happy to turn a blind eye to its own failings. She takes her job seriously, and wants to make a difference. But can she? The performance is so layered that we can see her thoughts spinning, especially when she quietly begins bending rules. In the strongly naturalistic supporting cast, the superbly under-spoken Malanda is the standout as a key witness who understandably doesn't want to get involved.

There are a lot of people in this film, speaking in a quick-fire way that reveals important details along with underlying thoughts and feelings. Moll orchestrates this expertly to keep the audience closely connected to the story, never losing us for a second. And he also cleverly integrates footage and stills of the real protests alongside recreated scenes. So we feel like we're watching a documentary. And it could be happening anywhere on earth at the moment.

themes, language, violence

27.Aug.26

The gifted Di Marco's acting is unusually raw, allowing London's emotions to gurgle up inside and then explode in unpredictable directions. He overreacts quickly, but knows what he's doing. And his avoidance at learning his diagnosis is never portrayed as fear; it's a resistance to reducing himself to only one aspect of who he is. It's a beautifully open-handed performance that is skilfully matched by the naturalistic supporting cast.

With such evocative camerawork and an extraordinary internalised soundscape, the film can't help but get under the skin, and the script continually finds lovely ways of seeing the world. For example, after spending the day together, Helena wonders at the fact that "this morning when I woke up I didn't know you existed". So the film becomes an urgent wake up call to approach people as more than just the one thing you might be able to see.

themes, language, sexuality

5.Sep.26 vff

Performances are relaxed and earthy, capturing awkwardness and camaraderie in interactions that include a brief burst of taekwondo and a spot of illicit naked swimming. But it's the broad spectrum of emotions that draw us in deeper, as we become intimately complicit with Jeon's matter-of-fact Mi-ok, Cho's darkly thoughtful Ho-seok, Zo's unconsciously entitled businessman and Cho's eerily watchful Ye-ji, always ready with her camera. And the bright young Jung's quietly observant perspective becomes essential.

Where these four characters go is utterly mesmerising, largely because their experiences and feelings are reflected so vividly in the things they say and do, and also what they hide. Each of them needs self-assurance from the stability of their work, and it's not the money that provides confidence. So the film becomes a bracing comment on a world that's made up of people who have self-worth and those who don't. It's impossible to watch this film without feeling like it is talking directly to you.

themes, language, sexuality

6.Sep.26 vff