La Chimera (2024)

Direction: Alice Rohrwacher
Country: Italy

Alice Rohrwacher’s films, notably Happy as Lazaro (2018) and The Wonders (2014), captivated audiences with their intriguing narratives. La Chimera, her fourth feature, stands out as a haunting archeological fable set in Tuscany during the 1980s. Rather than relying on suspense, Rohrwacher favors ambiance, crafting a story that delves into a painful past, an inebriated present, and an uncertain future. 

The story revolves around Arthur (Josh O’Connor), a nearly-spectral English wanderer with a supernatural ability to locate Etruscan artifacts in tombs and underground chambers dating back over 2000 years. Recently released from jail for smuggling these artifacts, Arthur, reluctantly rejoins his gang of “tomb diggers” while awaiting the return of his departed love, Beniadina. He also reconnects with Benidiana’s welcoming mother, Flora (Isabella Rossellini), and gets involved with her Brazilian student/maid, Italia (Carol Duarte), a surreptitious mother of two. 

When at its sharpest, Rohrwacher’s script exudes lyricism in its bendable trajectory, casting a spell on viewers. However, the comedic elements are overshadowed by the emotional crisis of an unpredictable, alienated protagonist with a strong inclination for sloppiness. Love and death are squeezed into an eccentric cinematic pot that, in a sense, harkens back to classics from Pasolini, Scola, Fellini, and Cocteau. Some nostalgic moments are magical and profound in a film full of nudges and nuance. This is simultaneously a fascinating character study, a poignant drama edited with breaks of slapstick humor, and an acute piece of psychological realism that connects the living and the dead.

Even with some unnecessary lengths, La Chimera provides a singular experience in a kind-hearted fashion that allows the movie to resonate with more warmth than what was initially thought. O’Connor delivers an engrossing performance, complemented by Duarte and Rossellini, who are a pleasure to watch.

The Settlers (2024)

Direction: Felipe Gálvez Haberle
Country: Chile / Argentina / other

Felipe Gálvez Haberle's directorial debut, The Settlers, delves into a dark chapter of Chilean history, chronicling a harrowing journey undertaken by three men from Tierra del Fuego to Argentina with the sinister aim of exterminating Indigenous peoples across the pampas. 

Set in 1901, the narrative revolves around Segundo Molina (Camilo Arancibia), a young mixed-blood tracker and skilled marksman, who joins forces with Alexander MacLennen (Mark Stanley), a ruthless English Lieutenant, and Bill (Benjamin Westfall), a prejudiced American mercenary. Both men are hired by Jose Menéndez (Alfredo Castro), a wealthy landowner who disposes the Indigenous people from their land to profit. Along their journey, they bump into a competitive Argentinean captain and a despicable Scottish colonel, carrying out their mission with tenacity. Interrupted by a seven-year gap, the two-part narrative culminates in the visit of Mr. Vicuña (Marcelo Alonso), an intellectual nationalist working for the Chilean president, to Menéndez, in the last corner of the Earth. 

Inspired by real characters, the film effectively captures the poignant brutality of the genocide perpetrated against the Selk'nam Indians in Chile. Its portrayal of a primitive environment tinged with political upheaval and savage acts evokes the spirit of classic westerns, here infused with shades of Herzog and Jodorowsky’s filmmaking styles.

Haberle keeps sentimentality away and doesn’t spare us to violence. The film’s heartrending conclusion may leave viewers feeling somber, with a sense of pure intoxication. Despite its bleak topic, The Settlers is elevated by its stunning location shots and the sharp cinematography of Simone D’Arcangelo, who previously showcased his talent in the exquisite The Tale of King Crab (2021).

The Animal Kingdom (2023)

Direction: Thomas Cailley
Country: France

French director Thomas Cailley, known for Love at First Fight (2014), directs and co-writes his sophomore feature, The Animal Kingdom, a hybrid sci-fi drama that balances pitch-perfect detail with a poignant sense of loss and restlessness. This Kafkaesque fable delves into themes of human-animal mutations, exclusion, and father-son relationships with tremendous ambition, resulting in a film that may strike some viewers as poetic while others may find it irrational and far-fetched.

The story follows François (Romain Duris) and his 16-year-old son, Emile (Paul Kircher), who have recently lost their wife and mother, respectively, due to an inexplicable phenomenon that gradually transforms humans into animals. Matters escalate when Emile begins to undergo the same transformation. The premise is imaginative and intriguingly uncanny, yet the execution maintains a palpable connection to reality. 

Cailley demonstrates audacity in both style and form, crafting a controlled staging that delves into themes of unethical discrimination and the mysterious ties between humanity and nature. The film serves as a metaphorically adjusted reflection of contemporary society, presenting a vital and sometimes violent friction between reality and fiction. The Oscar-caliber makeup used to portray the transformed characters, along with the spellbinding forests and landscapes of the Landes de Gascogne, contribute to a visually stunning experience.
While The Animal Kingdom may not achieve perfection in all its aspects, it carries feverish delicacy and magnetic charisma.

Society of the Snow (2023)

Direction: Juan Antonio Bayona
Country: Spain / USA

From the Spanish director of The Orphanage (2007) and The Impossible (2012), Juan Antonio Bayona, Society of the Snow is a moving tale of survival against all odds and a magnificent lesson in courage and hope. Adapting Pablo Vierci’s book of the same name, Bayona, along with his three co-writing associates, solidly depicts the 1972 crash in the Andes Mountains of an Uruguayan Air Force plane transporting a rugby team from Montevideo to Santiago. 16 people miraculously survive in unimaginable conditions after 72 days of being stranded, facing extreme cold, hunger, and complex moral dilemmas.

The film provides an uncomfortable viewing experience, offering an overwhelming and anguishing account of a terrible accident. The cumulative visual effects is powerful enough to get you caught in the gut, exposing horror and suffering at different levels while also enhancing the courage and the hope of these brave men with stunning precision and grueling agitation.

The movie's greatest strength lies in its visuals, supported by a nausea-inspiring sense of survivalism that shifts gears into noble acts of kindness, compassion, and collective trust. The plane crash is breathtaking in its technical magnificence, but the emotions, despite numerous close-ups and moments of high tension, ebb and flow.

Having said that, while Society of the Snow may not be a constant nail-biter, there’s enough of an emotional engine driving interest in the story. Magnified by Pedro Luque’s sharp cinematography, this stress-inducing film offers a sensory experience tcapable of accelerating your heartbeat and diverting your mind from minor troubles.

Godzilla Minus One (2023)

Direction: Takashi Yamazaki
Country: Japan

If you enjoy adventure films with a combination of intense action and dramatic flair, Godzilla Minus One might be the movie for you. Directed by Japanese filmmaker Takashi Yamazaki, the film offers a visceral and fast-paced fantasy with striking visuals and a strong sense of conviction. Yamazaki employs blockbuster tactics to depict multiple dangerous situations with a radioactive Godzilla wreaking havoc on a postwar Japan. 

The story revolves around Koichi Shikishima (Ryunosuke Kamiki), a former kamikaze pilot turned deserter and sea-mine extractor. His lack of courage brings shame to many of his fellow countrymen. However, when he encounters Noriko Oishi and her rescued orphan baby, he discovers a new purpose in life. As Godzilla heads to Tokyo, Koichi sees an opportunity to redeem himself and prove his bravery and piloting skills.

The film explores strong anti-patriotic sentiments associated with the loss of war, mixed with a sense of unity among a group of civilians led by former naval weapons engineer and strategist Kenji Noda (Hidetaka Yoshioka). Despite some plot holes and sentimental moments, Yamazaki enhances the film with stylized visuals, well-composed frames, and knockout sequences that blend ferocity with desolation. The director bends the rules of the genre by providing reinforced visual effects and relying on an intense musical score. While Godzilla's new roar is a result of a simple amplification of the original, the overall experience feels fresh and new.

Dream Scenario (2023)

Direction: Kristoffer Borgli
Country: USA

In Dream Scenario, Norwegian filmmaker Kristoffer Borgli continues his exploration of stubborn, obsessive characters, taking viewers on a tortuous journey into the world of unexplainable dreams and unexpected fame. On the heels of his previous work, Sick of Myself (2022), Borgli's first English-language feature is a bizarre and exhilarating tale that thrives on complexities and dilemmas, offering an unconventional cinematic experience. The filmmaker doesn’t aim to deliver a blatant message in this well-told fantastic story that, even not for everyone, will likely earn the appreciation of adventurous film fans. 

The film grabs hold in a powerful way, as long as we can let ourselves be carried along by its complexities and dilemmas. It tells the story of Paul Matthews (Nicolas Cage), a respected biology professor who mysteriously appears in the dreams of strangers. The narrative takes unexpected turns as Paul transitions from a passive bystander to an aggressive force, leading to fame, scandal, fear, and even a sexual encounter with a young woman played by Dylan Gelula.

Horror fantasy blends with psychological drama and dark comedy as Borgli, combining imagination and technique, explores dysfunctional aspects of modern life. The structure may challenge some viewers, but those who stay engaged will find plenty of awkwardness offering a distinct cinematic pleasure. In summary, the surreal and ambiguity never dwindle the emotional stakes.

The Holdovers (2023)

Direction: Alexander Payne
Country: USA

Alexander Payne makes a triumphant return with The Holdovers, a heartwarming comedy-drama set in 1970 that showcases his affectionate style of filmmaking. The film, written by David Hemingson and inspired by his personal experiences, marks the second collaboration with actor Paul Giamatti, known for their previous hit Sideways (2004).

The story unfolds at the prestigious Barton Academy, a private high school for boys, during Christmas break. As three lonely souls - the sarcastic and alcohol-fueled classics teacher Paul Dunham (Giamatti), smart troublemaker Angus Tully (Dominic Sessa), and the bereaved cafeteria worker Mary Lamb (Da'Vine Joy Randolph) - find themselves in an unexpected bond. The film skillfully juggles dramatic and comedic elements, creating a distinctive tone. However, this is not a particularly new palette for Payne.

Painful past occurrences reflect behaviors and postures in this refreshing drama with an obvious finale and a couple of sticky moments. Having said that, The Holdovers doesn’t beg to be liked, and the chemistry among the main cast members enhances the overall experience, making it feel like a Christmas treat. 

The story, guided by Payne’s becalmed direction and elevated by Giamatti’s outstanding performance, explores the complexities of growing up emotionally - not without sacrifice - and the factors impelling us to find the strength to move forward. Abrasive at the surface but warm in its fleeting moments of reflection, the film muses and liberates rather than demands or confines. This year’s feel-good winner bubbles with humor and positive change as Payne, transforming an intelligent cerebral script into a captivating film, showcases his storytelling prowess and the power of well-executed, character-driven narratives.

The Killer (2023)

Direction: David Fincher
Country: USA

The Killer, David Fincher's 12th feature film, further solidifies the director's reputation for delivering exceptional thrillers. Known for his masterful work in films such as Se7en (1995), Zodiac (2007), Gone Girl (2014), and Fight Club (1999), Fincher explores the world of a cold-blooded hitman. Michael Fassbender, in his first collaboration with Fincher, takes on the role of the meticulous and perfectionist assassin, delivering a performance that matches the film's somber mood. Adapted from the French comic book Le Tueur and co-written by Fincher and Andrew Kevin Walker, the storyline follows the hitman's journey from Paris to the Dominican Republic, New Orleans, Florida, and finally, Chicago.

The film skillfully explores the dehumanization and vulnerabilities of the assassin, who adheres to a strict credo, repeating it in his head to suppress any emotion or empathy. The supporting cast, including Charles Parnell, Sala Baker, Tilda Swinton, and Arliss Howard, adds depth to the narrative, with each character playing a crucial role in this mysterious man's obsessive mission. The voyeurism of the first part is hypnotic and entices the viewers for what comes next in a simple tale enhanced by the music of the English rock band The Smiths. 

It feels like Fincher, with his slyly calibrated moves, wants to deconstruct Hollywood clichés. He makes a shift in the way he returns to the genre, keeping the audiences suspicious and attentive to every possibly relevant detail. Even if they take us nowhere, one still enjoys this restless feeling and unbending tension throughout. In turn, Fassbender’s stoic and icy performance conveys the protagonist’s patience and determination but also his rigidness and mercilessness. While some may expect more from this dark revenge thriller, the result doesn't disappoint.

Mami Wata (2023)

Direction: C.J. “Fiery” Obasi
Country: Nigeria

The third feature from Nigerian writer-director C.J. “Fiery” Obasi, Mami Wata, presents a modern fable rooted in West African folklore. This brave and unusual film blends cultural defiance, intriguing mysticism, survival tension, and an unlikely romance, creating a narrative that is both poignant and unsettling. Sometimes spare, sometimes reverberant, the film not only captures the obscure traditional essence of an isolated Nigerian village but also sheds light on the oppression faced by women due to the looming malevolence of power-thirsty men.

Two story follows two warrior sisters, Zinwe (Uzoamaka Aniunoh) and Prisca (Evelyne Ily Juhen), who struggle to comprehend the ways of their mother, Mama Efe (Rita Edochie). The latter is the powerful intermediary between the people of Iyi and Mami Wata, the African goddess of water. Mama Efe entrusts the problems and requests of the villagers to this spirit, rejecting all types of external help to bring vaccines, schools, hospitals, and electricity to the village. However, her authority is called into question when a boy dies from a virus. A central conflict arises - is Mami Wata a real spiritual leader or a myth? To further complicate matters, an inscrutable rebel deserter named Jasper (Emeka Amakeze) arrives unannounced, aligning himself with a local subverter, Jabi (Kelechi Udegbe). 

Refreshingly simple in tone and efficiently structured, the film exudes the charm of old classics, embodying the eternal struggle between good and evil with a clarity that never goes out of style. Likewise, the dilemmas arising from the clash between rigid tradition and enticing progress are straightforward, allowing us to approach this different way of life with a sense of curiosity. 

At times, the story may follow predictable patterns, but it remains consistently fascinating, steeped in lyrical enchantment and fierce determination. What truly lends the film its mesmerizing atmosphere is the quietly radiant black-and-white cinematography by Brazilian cinematographer Lílis Soares.

Cassandro (2023)

Direction: Roger Ross Williams
Country: USA

The empathetic autobiographical drama Cassandro delves into the true story of Saul Armendáriz, a gay amateur wrestler from El Paso who, in the early 1980’s, catapulted from anonymity to fame after creating the ‘Exótico' character that lends the film its title. Directed by Roger Ross Williams, known for documentaries  such as God Loves Uganda, Life Animated, and The Apollo, and co-written with David Teague, this rare hybrid soars more than it lumbers, brimming with insight and cinematic flair. It marks the director’s narrative debut feature.

The plot offers an intimate look at Saul’s dreams, struggles, and life - the breathlessness of a young, creative fighter seeking for recognition and the adult realization that life, no matter its accomplishments, is not without hardships. The protagonist, competently portrayed by Gael Garcia Bernal, lives with his loving mother and true inspiration, Yocasta (Perla de la Rosa). He also maintains a secret yet frustrating relationship with a married wrestler (Raúl Castillo), and unsuccessfully tries to cope with the emptiness left by an absent father who suddenly vanished after he came out at the age of 15. Occasional flashbacks peek into the characters’ past without succumbing to melodramatic trappings.

Provocative without being excessively flamboyant, Cassandro is endowed with remarkable performances, underlining themes of freedom, courage, and ambition in most scenes; it offers an engrossing exploration of Saul’s duality in life. For the way it was done, it doesn’t necessarily beg for attention, but it certainly earns it.

Talk To Me (2023)

Direction: Danny Philippou, Michael Philippou
Country: Australia

Talk To Me is a solid addition to the horror genre, placing teenagers at the heart of its chilling narrative. It marks the directorial debut of the Philippou Brothers, awarded YouTubers who worked on Jennifer Kent’s acclaimed The Babadook (2014). The directors squeeze out considerable crawling tension throughout an ambitious film that culminates with a sickening poignant ending.

The plot revolves around a group of teenagers seeking thrills by conjuring spirits using a mysterious embalmed hand. As they become ensnared in this perilous game, tragic events unfold, plunging them into a nightmarish ordeal filled with malevolent spirits and dripping with cold sweats.

Devilishly effective, this modest yet compelling Australian production delves deep into the psychological realm. It grapples with serious issues affecting today’s youth, including absence, grief, depression, and social media addiction.

While employing some familiar horror tropes and encountering minor stumbling blocks in the plot, the film masterfully maintains a grip on the audience, evoking a sense of unease throughout. Each scene is perfectly controlled, and the special effects - favoring more physical than digital techniques - contribute to an immersive visual experience. Hence, despite its flaws and the relatively simple concept, Talk To Me proves to be a successful spookster for the majority of its runtime.

Huesera: the Bone Woman (2023)

Direction: Michelle Garza Cervera
Country: Mexico / Peru

This Mexican chiller written and directed by Michelle Garza Cervera, signing here her first feature film, has its way in terms of mood, visuals and storytelling. On top of that, it comes with an insightful message about motherhood, a recurrent subject in horror movies, but one that's rarely treated with such peculiarity and gravitas.

Bolstered by a nervy plot that was executed with efficiency, Huesera: the Bone Woman tells the horrific story of a fearful young woman, Valeria (Natalia Solián), who, after receiving confirmation of her first pregnancy, becomes haunted by a sinister figure and occult forces that interfere with her body and behavior. Self-doubt, emotional confusion and furious delirium impel her to participate in a dismaying ritual led by a trio of witches. It can be her salvation or her ruin. 

This anxiety-inducing exercise in horror, engrained with creepy reality/dream dualities and heavy dark music, also works as a metaphor for unwanted lives camouflaged by false happiness and marked by family and societal impositions. 

Cervera is adroit at manipulating dark settings, dragging us into Valeria’s disturbed psyche and making us hostages there. Huesera, a downright effort composed with trenchant expressions and a spellbinding atmosphere, prefers subtle suggestions to overt statements.

Sick of Myself (2023)

Direction: Kristoffer Borgli
Country: Norway

Sick of Myself is a cruelly ironic and soulless dark comedy drama that flirts with the psychological horror genre. An uneasy, infectiously entertaining romp whose delirious story focuses on two obnoxious narcissists. 

Kristine Kujath Thorp (she delighted us two years ago with Ninjababy) and Eirik Sæther (in his feature debut) star as Signe and Thomas, respectively, two extreme narcissists who keep insanely competing for attention and fame while in a toxic relationship. However, their focuses diverge into distinct directions; whereas he obsesses with his career as a bogus avant-garde artist, she takes her madness further by sacrificing her body and general health in order to get the public’s eye on her. 

Expect to be struck by a mix of sad and funny feelings that, depending on your mood, can delight, depress or infuriate. The sarcastic humor spares no one in a film that aims right, with venom, and painfully hits the right spot in such a manner that we are ready to excuse its redundancies. 

Sadly terrifying and often repulsive, Sick of Myself is not a film I'm likely ever to revisit but is well directed, acted, and observed, even if it takes that observation to a deliberately disturbing satirical degree.

Before, Now & Then (2023)

Direction: Kamila Andini
Country: Indonesia 

The political and emotional observations in Before, Now & Then, in addition to a perfect staging and the floating sense of time of the story, prompt us to consider Kamila Andini a promising contemporary filmmaker. In her debut feature, the 37-year-old Indonesian director and co-writer delivers a sensitive portrait of a woman who, despite living comfortably, suddenly realizes she has not found her place yet. This is set in West Java in the late 1960’s, at the time of Indonesia’s political transition to the New Order of General Suharto.

The feelings are more demonstrated than told, and the film, closed in itself and enveloped in a dreamy aura at an early stage, gradually blossoms into clarity and resolution. The plot centers on Nana (Happy Salma) who, having lost sight of her first husband for 15 years due to political reasons, remarries with a wealthy older man (Arswendy Bening Swara) who cheats on her. Bored with domestic life and with no one to confide her unspoken worries, feelings and unresolved matters, she turns to the last person one could ever imagine: Ino (Laura Basuki), a local market butcher and her husband’s mistress. 

Being very cinematic - with excellent cinematography, image composition, production design, and musical score - and smartly structured, the film relies on a storytelling that envelops without stinging or shocking. Even the worst of the betrayals seems natural here, such is the grace of its proceedings. It’s a gentle hymn to friendship and a powerful feminist statement whose politeness and dreamlike intensity allude to Wong Kar-wai’s unforgettable cinema.

Despite an unnecessary coda that contributes nil to the outcome, Before, Now & Then is a lingeringly rich and unsentimental period drama that expresses more with looks and gestures than with words.

Palm Trees and Power Lines (2023)

Direction: Jamie Dack
Country: USA 

The first feature from writer-director Jamie Dack, an uncomfortable coming-of-age drama cutely called Palm Trees and Power Lines, takes its time to compellingly tell the story of a 17-year-old girl who begins a treacherous relationship with a man twice her age. The script, co-written with Audrey Findlay, is an expansion of Dack’s 2018 short film of the same name.

Lea (Lily McInerny), 17, can’t really open up to her distant single mother (Gretchen Mol), spending the summertime hanging out with friends of her age. But not even occasional sex can pull her out of boredom. This is until, she meets Tom (Jonathan Tucker), a 34-year-old man who acts shifty but seems to understand her problems. What are the real intentions of this stranger? 

The story attains a sinister emotional vortex after Dack, never heavy-handed in her observations, portrays the blithe excitement of a rose-colored romantic discovery. There are two distinct halves: a more casual one that defines the characters and their milieus, and a tenser, grim last fraction that leads to a sad conclusion. The rawest scenes are stretched out with no music score, reaching a serious level of verisimilitude.

The well-acted Palm Trees and Power Lines is not perfect but frankly impressive. It succeeds in plunging us into the psyche of a teenager, and does it with captivating introspection. Being a movie of an invisible violence and loneliness, it not only packs a punch, but made me actively want to punch the movie characters, whether for their startling naivety or creepy perversion.

Madeleine Collins (2023)

Direction: Antoine Barraud
Country: France

Madeleine Collins, the latest feature by French director Antoine Barraud (Portrait of the Artist, 2014), is an ambitious psychological drama that borders on Hitchcockian thriller. It was co-written with Héléna Klotz (Atomic Age, 2012), and stars Virginie Efira (Benedetta, 2021; Revoir Paris, 2022), who couldn’t have been a better choice for the leading role. With great talent, she embodies Judith, a fragile woman - more generous than treacherous - whose double life gradually disintegrates as her multiple identities are unveiled.

The film involves the viewer in a labyrinth of pitfalls and pretenses that misleads before eventually shedding some light on a story that keeps throbbing with twists. They progressively explain the confusion of its earlier parts, which make you search incessantly for logical grounds. The success, however, comes partially from Barraud, who keeps the pace moving and manages to disconcert at regular intervals while directing with a skillful sense of suspense. 

Elevated by a great performance, this tale only seems possible on screen, but the uncanny undertones of humanity and perversity infused by the protagonist keep us centered on her self-created nightmare. With that said, the whole thing feels familiar, moodwise, without ever veering into cliché.

Passages (2023)

Direction: Ira Sachs
Country: USA

Ira Sachs, the director of Love is Strange (2014) and Little Men (2016), follows up with Passages, an intense drama film that’s neither kitschy nor unrealistic. The film’s Paris is a place where lust and artistic ambition can coexist; and that city atmosphere seems to suit Tomas (Franz Rogowski), a German filmmaker who abandons his longtime English husband, Martin (Ben Whishaw), to have an affair with a woman, Agathe (Adèle Exarchopoulos). 

Propelled by desiring forces and emotional ebbs and flows, the film marks a tough period of transition in the lives of these three characters. There’s this cumulative toxicity spread by an electric narcissist who lives according to his own pleasures, without taking others into consideration. Tomas’ unsettling ego is harmed when his dominance fails. Conveying exactly that, Rogowski elevates a story that, although meandering on occasion, is implacably lucid. It’s a painful view of the failures, doubts and losses of love.

Sachs is proficient in capturing the push-and-pull of relationships, and we can feel the jealousy, frustration and tension oozing from the scenes co-written with Mauricio Zacharias, who teams up with the director for the fifth time. In the case of the female character, the screenwriters understood that quiet desperation is often more moving than noisy suffering, and we do feel commiseration for her.

Passages has the ability to be simultaneously disciplined and unpredictable. Even if it doesn’t come with the power of Sachs’ previous works, this is still a lavish and opulent story that ends pungently at the sound of free jazz saxophonist Albert Ayler’s “Rejoice Spirit”.

Oppenheimer (2023)

Direction: Christopher Nolan
Country: USA 

Oppenheimer marks the sixth collaboration between the singularly original writer-director Christopher Nolan and the Irish actor Cillian Murphy, who, given the leading role here, works diligently under the guise of the physicist who created the atomic bomb, J. Robert Oppenheimer. Populated with lightning-fast dialogues, oppressive music and artificial tension, the film differs from Nolan’s previous moves as there’s no emphasis on action. In a way, the type of narrative adopted by Nolan curbs the inventiveness that made Memento, Inception and Dunkirk instant classics.

As a cerebral biopic, it tries to get our attention through scientific fascination, political repression, international espionage, and the moral dilemma faced by the title character, who struggles with his own creation: a massive weapon that poses an existential threat to the humankind. Oppenheimer’s guilt is well expressed, as well as the cynicism of some of his associates, like Dr. Lewis Strauss (Robert Downey Jr. is excellent) and Edward Teller (Benny Safdie). Even president Truman (Gary Oldman) disregarded his torment and did nothing to prevent his political persecution. 

It’s an interesting, if formal, film that manages to captivate intermittently. Shot statically in black-and-white and color, it follows a transparent narrative strategy, being structured as a series of slow-moving scenes that require you to dive into meticulous dialogue with tenacity. On one side it’s an opportunity to get a history lesson on the matter, but the film only really shines on a few scattered powerful moments. It all came up more informative than fun.

Linoleum (2023)

Direction: Colin West
Country: USA 

The labyrinthine Linoleum happens to be the most ambitious and accomplished movie by writer-director Colin West (Double Walker, 2021). The unconventional screenplay examines repressed dreams, family issues and brain clogging with some caricatural undertones and a layered surrealism that serves well its narrative purpose.

Set in Dayton, Ohio, this mildly profound comedy drama puts the focus on Cameron Edwin (Jim Gaffigan), the longtime host of a children’s science TV show, who, at middle age, still wants to do something fantastic with his life. However, he’s going through a tough phase. He’s about to divorce his wife, Erin (Rhea Seehorn), and is forced to abandon his home when a rocket crashes into his backyard. His wealthy and antipathetic new neighbor, Kent (Gaffigan in a double role), who looks a lot like him, steals his job. And to complicate things even more, the latter’s son, Marc (Gabriel Rush), starts dating his daughter, Nora (Katelyn Nacon). 

The first half of the story maintains a modest charm while the second is more emotional and progressively clarifying. Linoleum is a lesson in how movies can escape stereotype and penetrate the hearts of rare characters. Cleverly acted by a cast that truly believes in the material, the film is complex, lacerating and self-revelatory. Its quirky tone and bold structure are the movie's greatest strengths, which keep the film's plot events from ever feeling melodramatic. Even with a solid emotional center, this is not for all tastes.

Pamfir (2023)

Direction: Dmytro Sukholytkyy-Sobchuk
Country: Ukraine 

Pamfir, the feature debut by Ukrainian writer-director Dmytro Sukholytkyy-Sobchuk, flirts with the aggressiveness of Guy Ritchie’s early films and the bleakness of Sergei Loznitsa’s tales of hopelessness. The film, rudimentary but not excessively violent, follows Leonid a.k.a. Pamfir (Oleksandr Yatsentyuk), a former smuggler who returns to his tiny rural village in West Ukraine - located on the border with Romania - after several months working in Poland. Although happy to stay with his family - wife Olena (Solomiya Kyrylova) and son Nazar (Stanislav Potiak) - the monolithic Leonid falls into the same traps of the past to mend his son’s imprudent actions. 

Sukholytkyy-Sobchuk paints a dark and desperate portrait of a crumbling Ukraine marked by crime lords, the loss of values, traditional folklore (Malanka holiday), and the generalized corruption of public authorities. With a heavy atmosphere, Greek stoicism, and unmerited misfortune, this is an aesthetically strong picture lit by the magnificent work of director of photography, Nikita Kuzmenko. 

Pamfir finds limited options to deal with unexpected predicaments in a contemporary tragedy that is pretty decent but harsh. In his debut, and due to the script’s nature, Yatsentyuk conveys more action than emotion. His professionalism is never in question though.