Perfect Days (2023)

Direction: Wim Wenders
Country: Japan / Germany

Acclaimed German director Wim Wenders (Alice in the Cities, 1974; Wings of Desire, 1987; Paris Texas, 1984) returns to Japan - where he filmed Tokyo-Ga nearly 40 years ago - to shoot Perfect Days, a simple and endearing tale co-written with screenwriter Takuma Takasaki. Drawing inspiration from Ozu's filmmaking style, Wenders crafts a narrative characterized by nuanced circularity and a gentle pulse, offering a film that soothes the soul rather than warping the brain.

Koji Yakusho portrays Hirayama, a quiet and hardworking public toilet cleaner residing alone in Tokyo. Despite his solitary lifestyle, he finds joy in nature, photography, literature, and ‘70s rock music, cherishing the beauty in life’s little details. With a sweet shade of detachment from the real world, the humble Hirayama transmits the pure bliss of being thankful for everything he has, searching for beauty in every aspect of his daily routine. However, his tranquil existence is disrupted when his estranged niece, Niko (Arisa Nakano), unexpectedly pays him a visit, coinciding with tensions arising from his young assistant, Takashi (Tokio Emoto), who has fallen in love.

Yakusho delivers a pitch-perfect performance, carrying the weight of the narrative with ease, while Wenders approaches the story with a sense of politeness, eschewing flashy theatrics. Undeniably, the film's power lies in its restraint, opting for hopefulness over heartbreak and exuding a strange yet beautiful gentleness of spirit. Perfect Days unfolds with airy grace and poetic substance, masterfully composed in a minor key that never feels repetitive or aggressive in its narrative cycle. Not seeking to impress you, this amply generous and pure cinematic gesture will probably touch you in the heart.

Ennio (2024)

Direction: Giuseppe Tornatore
Country: Italy 

This illuminating, elucidative, and enthralling documentary delves into the life and work of Ennio Morricone, the most popular and prolific composer of the 20th Century. Directed by Giuseppe Tornatore (Cinema Paradiso, 1988; The Legend of 1900, 1998), the film establishes a genuine closeness with the artist. Classic in form yet highly informative, it is neatly structured and strikes a perfect balance. Tornatore skillfully intersperses interviews with key figures such as filmmakers, musicians, screenwriters, and collaborators, alongside insightful footage fragments from Morricone's different career phases.

Throughout the documentary, viewers uncover treasures from the legendary composer's journey. Morricone's father initially envisioned him following in his footsteps as a trumpet player, never imagining he would become one of the greatest film scorers in history. Described as enigmatic, discreet, serious, crazy, and innovative, Morricone candidly discusses his frustrations and triumphs, expressing only one regret: not collaborating with Stanley Kubrick on his 1971 masterpiece, Clockwork Orange. Despite grappling with criticism and feelings of guilt due to his involvement in film, the composer pushed himself even harder, consistently displaying originality and a penchant for experimentation.

Ennio takes audiences on an emotional journey without descending into melodrama, partially thanks to the masterful editing by Massimo Quaglia and Annalisa Schillaci, who keep things fluid and interesting. After watching this documentary, viewers may find themselves drawn deeper into Morricone's brilliant soundtracks and compelled to explore his musical genius further.

Fallen Leaves (2023)

Direction: Aki Kaurismaki
Country: Finland

Aki Kaurismaki’s Fallen Leaves, titled after the original French song "Les Feuilles Mortes" composed by Kosma/Prévert, is an affecting art house romantic comedy and social reflection that resonates as a cry from the heart, ultimately radiating more warmth than desolation. With his unmistakable style, Kaurismaki strikes a wonderful tonal balance, infusing the narrative with deadpan humor, poignancy, and hope, offering an understated yet deeply affecting piece of amusement for an autumnal afternoon. Fallen Leaves can be viewed as the lost fourth installment in Kaurismaki’s proletariat trilogy, following Shadows in Paradise (1986), Ariel (1988), and The Match Factory Girl (1990).

At the heart of the story are two loners: Ansa (Alma Pöysti), a hard-working supermarket employee disturbed by war news on the radio and yearning for change in her daily routine, and Holappa (Jussi Vatanen), a depressed metalworker who appreciates solitude, vibrates with American rock n’ roll, and struggles with alcoholism. Their chance encounter at a local karaoke bar sparks an immediate attraction, but their differences become apparent as Ansa refuses to live with a drunk, while he rejects any form of authority. As they navigate obstacles and setbacks, fate seems to continually postpone their chance at happiness.

Grounded in realism without descending into sordidness, the film captures with honest eye a loving couple in their simple, everyday setting. There’s an empathetic embrace of retro and kitsch aesthetics, underscored by tragic songs and a cinematography as clear as crystal. The actors effortlessly embody their characters’ quirks with authenticity. Stripped of romantic idealism, love in Fallen Leaves is depicted as introspective, deep, and gentle - a plea for compassion and understanding that feels timeless. 

Kaurismaki emphasizes human resilience and the value of love with his filmmaking gestures, in an absolutely gorgeous and hugely affirming love story. It’s one of those pure delights that’s hard to resist.

All of Us Strangers (2023)

Direction: Andrew Haigh
Country: UK

In Andrew Haigh’s latest psychological and supernatural drama, All of Us Strangers, we follow the journey of Adam (Andre Scott), a homosexual screenwriter in his forties who gets in touch with his feelings after starting a relationship with a mysterious neighbor, Harry (Paul Mescal). As their connection deepens, Adam inexplicably finds himself connecting with their late parents (Jamie Bell and Claire Foy), who tragically passed away in a car accident when he was 12. Partially filmed in the house where Haigh grew up on the outskirts of Croydon, the film, based on Taichi Yamada’s 1987 novel Strangers, carries a personal touch that adds depth to the narrative. The inclusion of a 1980s soundtrack further enhances the nostalgic atmosphere.

This beautifully understated and unique film transitions from the mundane to the otherworldly with feverish quietness, offering a poignant exploration of solitude, trauma, grief, love, and the vagaries of time. It’s a well-constructed and nuanced drama that drips with bold visual aplomb and a subtle mysticism akin to disorienting, dreamlike states.

Haigh confirms the immense filmmaking capabilities and storytelling expertise previously showcased in films such as Weekend (2011) and 45 Years (2015). All of Us Strangers lingers in the mind long after the credits roll. It haunts you, and you’ll admire its conception while searching for answers. While the film may not provide easy resolutions, its ambivalent nature and mysterious allure make for a captivating viewing experience. Indeed, it stands as something special in contemporary cinema.

About Dry Grasses (2024)

Direction: Nuri Bilge Ceylan
Country: Turkey

About Dry Grasses is the ninth feature film by acclaimed art-house Turkish director Nuri Bilge Ceylan (Once Upon a Time in Anatolia, 2011; Winter Sleep, 2014), whose signature blend of languid yet observant storytelling has earned him cult status. In this mature and quasi-philosophical wintry chamber piece, Ceylon delves into the vain hopes, fixations, and frustrations of Samet (Deniz Celiloglu), a guileful middle-aged teacher yearning to escape the isolation, suffocation, and alienation caused by working in a remote eastern Anatolian village for four years. 

With an anguishing melancholy penetrating every frame, the director crafts a skillfully complex Chekhovian fresco that disconcerts by steering the narrative into unexpected directions. The topics of aloofness and vacillation of the soul expand, coexisting with fragments of entrenched politics, cynicism, betrayal, individualism, moral considerations, cold romanticism, and lost illusions. Some of them blur the lines between good and evil. 

Ceylan, who has an unerring knack for arresting imagery, opts for austere shots, capturing the vast and desolate snowy fields and pallid grey skies with profound intensity, increasing tension. The sensitive material and harsh environment find a perfect match in his hands, translating into a disturbing yet compelling portrait of egotistic utopia.

Recondite emotional stimuli surface intermittently with lucidity in each character, often without the need for words. Ceylan exposes subtle dark spots of the human soul in a quietly meditative study that reveals the intricate intelligence of its design. While his heavy cinema and stretched-out narratives may not appeal to everyone, About Dry Grasses denotes his continued evolution in terms of staging, elasticity, and tone.

Monster (2023)

Direction: Hirokazu Koreeda
Country: Japan 

Hirokazu Koreeda (Nobody Knows, 2004; Shoplifters, 2018), an observant Japanese cineast with extraordinary capabilities, confirms his talent as an explorer of the intimate, capturing adolescence, friendship, and family with incisive intelligence. Fascinating in its maturity and storytelling, Monster is a fascinating and mature storytelling experience that provides an involving and exhilarating journey, shaking the audience by surprise and offering a nuanced understanding of reality.

The meticulously constructed tale, written by Yuji Sakamoto (the first not written by Koreeda since his 1995 debut feature Maborosi), revolves around characters such as an overprotective single mother (Sakura Ando) who refuses to hold back emotions, her only son (Soya Kurokawa) who starts acting strangely erratic, his lonely classmate (Hinata Hiiragi) stigmatized by an alcoholic father, and a young teacher (Eita Nagayama) accused of misconduct. The narrative also involves an ineffectual school principal (Yuko Tanaka) deeply affected by a tragic accident. 

This infinitely touching moody tale unfolds with some unfathomable secrets and torments that progressively dilute into transparency. At first very sad in the disconsolate aura that underpins it, then very strange and bemusing, and suddenly very inspiring. In truth, every dose of discomfort will seep into your skin but, if you’re an optimistic, don’t get desperate because Koreeda pulls a rabbit out of the hat with magical refinement.

The film shapes as a provocative, thoughtful, sometimes minimalist dramatic fresco, deliberately illusive in structure and narrative. Nothing is taken for granted, and, all of a sudden, darkness can turn into light when we’re given a different perspective. Koreeda’s masterful control and the compelling performances of a multigenerational ensemble cast elevate the emotions. The late master composer Ryuichi Sakamoto's piano-driven score further intensifies the experience. Monster stands as a product of compelling filmmaking.

Io Capitano (2023)

Direction: Matteo Garrone
Country: Italy / Belgium/ France

Io Capitano is a breathtaking migrant odyssey directed and co-written by Matteo Garrone, renowned for works such as Gomorrah (2008) and Dogman (2018). The film, devoid of cynicism and cheap sentimentality, follows the perilous journey of two 16-year-old Senegalese boys who decide to leave Dakar for Europe. Their journey, full of surprises and strong emotions, exposes the harsh realities of racism, exploitation, and inhumanity, while also providing a lesson in courage, humility, and humanism. 

Garrone navigates new territory with a firm hand, shedding light on the tenebrous predicaments associated with migration and raising awareness of human rights violations. Beyond its value as a fictional tale, Io Capitano serves as a profound statement on the challenges faced by migrants. 

The cinematography by Paolo Carnera captures vast expanses of desert and ocean, adding to the film's visual appeal, while newcomer actor Seydou Sarr, who is like a shinning beam of light in a dark place, delivers a credible performance, conveying innocence and affability. Even though the script may not reach great majesty, Io Capitano remains an indispensable movie about a disturbing global issue with no immediate solution at sight. Its path evokes both touching and shocking emotions simultaneously.

American Fiction (2023)

Direction: Cord Jefferson
Country: USA 

American Fiction unfolds as an open-hearted comedy drama with spun fast and sharp dialogue where humor prevails even in the midst of poignant moments. It’s a remarkable feature debut for Cord Jefferson, whose curious perspective and narrative intelligence keep a tight focus on the central character. He makes the film a powerful triumph.

The story centers on Thelonious “Monk” Ellison, portrayed by Jeffrey Wright, a talented yet frustrated Black author and English professor. Under a pseudonym, Monk writes a deliberately clichéd satirical novel that exposes the hypocrisy of the publishing industry and white consumerism. Accused of not being ‘Black enough’ in his writings, Monk grapples with death and illness in the family, and contends with the success of a new literary sensation: Sintara Golden (Issa Rae), whom he deems a fraud. Additionally, he reconnects with his estranged brother, Cliff (Sterling K. Brown), a messy plastic surgeon, and navigates a complex love story with Coraline (Erika Alexander), a lawyer living across the street from his mom. 

Sensitive in so many ways but also confrontational, the film is a brazenly enlightening, stingingly thought-provoking satire that straddles the realms of drama and comedy, making its point. It’s one of those pictures that remains engaging, even in its silliest scenes, ultimately achieving an airy result considering such weighty thematic loads. 

Brilliant casting and a cleverly woven story ensure that funny, angry, and heartbreaking moments blend seamlessly. Wright, who played the leading role in Julian Schnabel’s Basquiat (1996) and has been featured in Wes Anderson’s latest works - The French Dispatch (2021) and Asteroid City (2023) - plays his character with mordancy, virtuosity, and blistering perfection, delivering a career-high performance. Also, composer Laura Karpman infuses some wonderful musical vibes, leaning more towards cool piano jazz than the angular style of Thelonious Monk. 
American Fiction presents itself in a distinctive cinematic fashion, leaving a lasting impact on its audience.

Maestro (2023)

Direction: Bradley Cooper
Country: USA

Directed by and starring Bradley Cooper, Maestro is a well-crafted representation of the enduring marriage between iconic conductor and composer Leonard Bernstein and his actress wife Felicia Montealegre. The film avoids messiness in its timeline, presenting an honest and mature biopic that excels on all fronts.

The story, spanning 30 years, starts with a prologue where Bernstein is filmed and interviewed at home, but the story quickly winds back to his conducting debut with the New York Philharmonic at Carnegie Hall and his rapid rise to fame in 1943. Then, it focuses on the couple and how they changed over the years as he embraces the absolute freedom of the artist, sometimes recklessly. Despite betrayals and jealousy, their love proves to be resilient.

Cooper, who co-wrote with Josh Singer (Spotlight, 2015; First Man, 2018), not only delivers his best directorial work - I wasn’t particularly a fan of A Star is Born (2018) - but also his best performance, creating an extremely empathetic atmosphere that spans a wide range of emotions. Carey Mulligan’s earnest performance, the beauty of black-and-white and pastel-colored visuals by Darren Aronofsky’s regular cinematographer, Matthew Libatique, and the immaculate production, involving talents like Martin Scorsese and Steven Spielberg, contribute to the film's richness and tonal consistency. Maestro stands as a testament to Cooper's directorial and acting prowess.

Fremont (2023)

Direction: Babak Jalali
Country: USA 

Fremont marks the fourth feature film by Iranian-British director Babak Jalali, who co-wrote it with Carolina Cavalli (Amanda, 2022). This delightful and triumphant indie comedy-drama draws inspiration from the styles of Aki Kaurismaki and Jim Jarmusch. Languid and centered, the film is peppered with irresistible dry humor while addressing relevant topics with a philosophical tone and stoic expression.

The camera lens focuses on Donya (Anaita Wali Zada), an isolated 20-year-old Afghan refugee and former translator for the US Army, grappling with guilt, rejection, and melancholy for betraying her country. Working in a Chinese fortune cookie factory in San Francisco to avoid the large Afghan community in Fremont, she battles PTSD, leading her to seek help from Dr. Anthony (Gregg Turkington), a relaxed and patient psychiatrist. An unexpected blind date introduces her to Daniel (Jeremy Allen White), a lonely mechanic burdened with responsibilities. The intense connection she feels with him rekindles her ability to dream. 

Jalali handles narrative understatement with incredible charm, shooting in a beautiful black-and-white without succumbing to the common style-over-substance pitfall. The story - sharply observed, compellingly told, and crammed with agreeable surprises - appears to treat its weighty subjects with lightness and coldness. However, a deeper look proves that idea wrong. The humor pushes Fremont away from sentimental traps, and is complemented by a magnificently romantic section where the chemistry between Zara and White, both desperate for love, is remarkable.

The film's scenes are exposed with a non-cumbersome beauty that elicits tears without being overtly tearful. Fremont concludes with warmth and optimism, infusing independent cinema with a breath of fresh air and a generous heart.

May December (2023)

Direction: Todd Haynes
Country: USA

Todd Haynes stands out as a remarkable director, contributing to the cinematic landscape with noteworthy works such as Far From Heaven (2002), I’m Not There (2007), and Carol (2015). In his latest endeavor, May December, he delivers a quietly disturbing, character-driven film with a gratifying payoff, delving into themes like sexual manipulation and extreme journalism. The narrative revolves around a woman who, at 36, initiated a sexual relationship with a 13-year-old, drawing inspiration from the real-life case of Mary Kay Letourneau, a teacher and sex offender. 

Haynes navigates the story with thoughtful exploration, leveraging the acting prowess of Julianne Moore, in the role of the 'naive' woman, and Natalie Portman, embodying an unprincipled actress set to depict her in a film. Their performances strike the right chords, imbuing the film with a rare power and helping to convey an offbeat communication that can leave viewers uneasy. The film's strength, beyond the emotional complexity of its content, lies in its unpredictable trajectory. 

This provocative and controversial psychodrama skates on the edge of madness, unfolding methodically under Haynes’ compelling direction. While there's room for further suspense exploration, the film remains disarming in certain moments. It provokes a significant moral introspection that refuses to leave anyone indifferent. Ultimately, the audience is left with the sensation that there is much more to uncover - something distorted and concealed beneath the apparent restraint of inscrutable emotions.

20,000 Species of Bees (2023)

Direction: Estibaliz Urresola Solaguren
Country: Spain

20,000 Species of Bees marks a poignant and delicately crafted debut for Spanish filmmaker Estibaliz Urresola Solaguren. Her sensitive work comes with conscientious observations, deserving praise. Managing to fill the gap between the simplicity of her filmmaking process and the complexity of the issues raised by the story, Solaguren fixates her gaze on Cocó (Sofia Otero), an eight-year-old transgender girl searching for answers and an identity. The time spent with her mother, Ane (Patricia López Arnaiz), and remaining family in her grandmother’s house, which is forever linked to beekeeping, will be determinant to reach an inevitable conclusion. All family members are affected and react differently.

Unfolding in the Basque Country, the narrative, inspired by the tragic real-life case of a 16-year-old who took their own life while awaiting hormone treatment, delves into the mental and physical struggles of not being born in the right body. Simultaneously, it explores the professional challenges and moral dilemmas faced by Ane, as well as the strained relationship with her passive-aggressive mother, Lita (Itziar Lazkano).

The international recognition is not surprising since rarely a film reflected on sexual identity with such clarity, moving forward with firmness without avoiding obstacles. The slow-paced developments serve to reinforce ideas, clarify relationships and positions, and establish a deep connection with the characters. And we are struck by the touching performance of Sofia Otero. This is a sincere and painful portrait that, while breathing intensely, avoids relying on pathos.

Killers of the Flower Moon (2023)

Direction: Martin Scorsese
Country: USA

Displaying a personal filmic vision, Martin Scorsese directs the historical western crime film, Killers of the Flower Moon, with insight and restraint, benefiting from outstanding performances by Leonardo DiCaprio, Robert De Niro, and Lily Gladstone. This epic and tragic account accurately depicts Oklahoma in the 1920s, portraying the series of murders of the native Osage tribe by greedy, powerful white men coveting their lands and oil headrights. The asphyxiating monstrosity of the actions is encouraged by a corrupt and racist system that threatens the cultural survival of the Native American tribe in question.

The screenplay, co-written by Scorsese and Eric Roth, based on David Grann’s nonfictional book of the same name, follows the war veteran Ernest Burkhart (DiCaprio), advised by his corrupt uncle and crime lord, William King Hale (De Niro), to marry the wealthy Indian Mollie Kyle (Gladstone). One of after another, members of her family are mercilessly murdered until the arrival of a Bureau of Investigation team led by agent Thomas Bruce White Sr. (Jesse Plemons). 

We are caught in the gut with this painful reflection on the American history, transformed in a momentous, highly entertaining picture. Scorsese's impressive narration, not praising violence but rather coming to terms with it, flows at a constant pace. The film is nourished by extraordinary performances by the three leads, an accomplished blues-roots score by the late Robbie Robertson, impeccable editing by Thelma Schoonmaker, and delightful images - sharpened by Mexican cinematographer Rodrigo Prieto - forming a masterfully staged fresco darkly hued by cynicism, avidity, and transgression.

Anatomy of a Fall (2023)

Direction: Justine Triet
Country: France

Cannes Film Festival’s Palme D’Or winner, Anatomy of a Fall, is a dense courtroom drama filled with intriguing and revelatory developments. The film, brilliantly directed by Justine Triet (Age of Panic, 2013; Sybil, 2019) and co-written with close collaborator Arthur Harari (Onoda: 10,000 in the Jungle, 2021), stars Sandra Hüller as Sandra Voyter, a German writer living in a secluded chalet in the mountains of France. She becomes the prime suspect in her writer husband’s mysterious death, despite persisting doubts about whether it was an accident, suicide, or murder. To complicate matters, Daniel (Milo Machado-Graner), the couple's visually impaired 11-year-old son and the sole witness to the case, changes his testimony.

With a fine-tuned script that materializes in an impeccable staging, this cooly absorbing, nonchalantly cynical family drama presents three-dimensional characters who hold our attention throughout. Its real masterstroke is the shroud of ambiguity that erupts as the narrative dissects the fragile marital relationship between the couple. Many details and discrepancies must be considered during the investigation: a past accident involving their son caused guilt and resentment; the literary couple has disparate professional successes; and Sandra, being bisexual, had a few flings with women that motivated jealousy.

Hüller, who first gained notoriety in Mare Ade’s Toni Erdmann (2016), exudes dazzling charisma and oozes class with her performance, while Triet is at the top of her game, creating a precise, intelligent portrait of a free woman whose confidence and composure never seem shaken. The close-ups are penetratingly sharp, and the dialogues are absorbing, allowing the film to breeze through its two-hour-and-thirty-minute running time despite the weightiness of a psychological drama woven with incredible richness. Anatomy of a Fall is easily the most attractive and entertaining courtroom drama in recent years and represents Triet’s best work.

El Conde (2023)

Direction: Pablo Larraín
Country: Chile

Acclaimed Chilean director Pablo Larraín continues in biopic mode with El Conde, a film centered around Chilean dictator Augusto Pinochet, following cinematic idiosyncrasies such as Jackie (2016, about Jackeline Kennedy), Neruda (2016, about Pablo Neruda), and Spencer (2021, about Lady Diana). This time, Larraín ventures deep into surrealism, transforming Pinochet into a 250-year-old vampire in a fable that is both somber and facetious. 

Drawing from German Expressionism (Nosferatu and Vampyr are references) as well as absurdism, the director creates a sinister black-and-white world of fantasy to denounce real sinners and their indelible sins from the past. A mysterious British woman, whose identity is revealed by the end to our surprise, narrates the story of Pinochet (Jaime Vadell), a mediocre royalist French soldier turned oppressive commander and vampire. Years after committing atrocities, he now seeks death. His wife, Lucia (Gloria Münchmeyer), betrays him with his loyal slave and master of torture, Fyodor (Alfredo Castro), who is also a vampire. The scenario is further complicated with the arrival of his five greedy children, and Carmen (Paula Luchsinger is phenomenal), a sweet and sly nun disguised as an accountant and secretly assigned to exorcise him from evil. Unexpectedly, in love, the weak count just needs fresh blood (or a human heart smoothie) from young people to rejuvenate. He no longer wants to die.

Equipped with daring shots, classical arias, religious chants, and a fair dose of madness, the ultra-hype El Conde is delirious and violent. It’s carried out with audacity and virtuosity, showcasing the filmmaker’s mastery of his art. The film is far from making a fully formed organic statement, but that wasn’t Larraín’s intention. Fearless of the result, he focused on satirizing with imagination and scathing black humor, metaphorically condemning the man while also providing entertaining.

The Bohemian (2023)

Direction: Petr Václav
Country: Czech Republic / Italy / Slovakia 

Eight years after dedicating a documentary to Josef Myslivecek, the talented Czech director Petr Václav unleashes his imagination by crafting a full-length fictional biopic about this Prague-born composer whose operas influenced the young Mozart and earned acclaim in 18-century Italy. Despite this, he lived penniless throughout his life and was quickly forgotten.

The story, constructed as a long flashback, covers his life and work in Italy. There’s a curious prologue that portrays the disfigured composer (Vojtěch Dyk) struggling to survive in 1971 Rome. The narrative winds back to 1765 Venice, when he declined to marry a wealthy cello student to pursue a scalding relationship with a hedonistic aristocrat (Elena Radonicich ) who manages to put him in contact with the most celebrated opera singer of that time, the moody Caterina Gabrielle (Barbara Ronchi). His career takes off in Naples, and eventually leading him to Bologna, where he reunites with the love of his life, Baroness Anna Fracassati (Lana Vladi). But this woman is held captive by a violent and jealous husband. In Padua, syphilis gets him disfigured, and he departs to Rome later for a cold, futile musical reunion with Gabrielli.  

Classical music and carnal pleasure go hand in hand in a film that captures the charm and the vulgarity of the eccentric artistic society of that era. Humor is often present but the film is not devoid of disturbing moments. Václav portrays all of this marvelously, and his grandiose ambition is rewarded with beautifully composed shots, impressive lighting techniques, detailed settings, and an elegant costume design. Yet, by always placing the characters at the forefront, there’s a bittersweet, mundane flavor that thwarts any artsy pretension. 

Even with some deviations from historical truth, the director provides a fair view of the artist and his personality, in a ballsy move that avoids the pitfalls of academicism and period dramas.

Captain Volkonogov Escaped (2023)

Direction: Natalya Merkulova, Aleksey Chupov
Country: Russia 

Tautly written and directed by Natalya Merkulova and Aleksey Chupov, Captain Volkonogov Escaped is a gripping, visceral drama thriller with solid acting and arresting cinematography. It takes the form of a furious post-modernist parable where mystic elements infiltrate a dark, horrific reality denounced at a breathless pace. The film is set against the backdrop of the Great Purge, Stalin’s violent 1938 campaign to solidify his absolutism, which resulted in the arrest, torture and execution of about a million people. 

Captain Fyodor Volkonogov (Yuri Borisov) is a high-ranking agent within the law enforcement unit known as National Security Service (NKVD). He’s been a merciless torturer and executioner for years. However, by observing the madness around him - innocent people confess crimes every day under heavy torture while young agents can’t stand the pressure of their duties and commit suicide - he decides to escape the governmental organization in order to save his soul. He sets off on a desperate and unstoppable mission in seek of forgiveness, which, urged by the ghost of his late best friend and colleague ‘Kiddo’ Veretennikov (Nikita Kukushkin), becomes more important than life itself. But will someone within the victims’ families be able to forgive a monster like him? 

Carrying a rare intensity in the narrative, which recalls literary works by Dostoyevsky and Bulgakov, the film is overwhelmingly painful; an original moral tale that, in the guise of a survival thriller, seeks for a trace of humanity. This is grim yet powerful cinema.

Limbo (2023)

Direction: Ivan Sen
Country: Australia 

Limbo is a haunting neo-noir slow burner written, directed, edited, co-produced, photographed, and scored by the multifaceted Ivan Sen (Mystery Road, 2013; Goldstone, 2016). The film offers a captivating re-examination of an unsolved murder case that victimized a young Aboriginal woman two decades ago. Travis Hurley (Simon Baker), a benumbed cop with a violent past and a heavy drug addiction, arrives in a small, barren mining town in outback Australia to investigate deeper. He contacts the victim’s depressed family members - half-siblings Charlie Hayes (Rob Collins) and Emma (Natasha Wanganeen) - as well as Joseph (Nicholas Hope), the brother of the main suspect at the time. All of them seem to know more than what they say.

Building up slowly but with a hypnotic spell, the film looks like a canvas painted in monochrome style - the unique arid landscape and compelling black-and-white photography make a wonderful match. It exposes not only the current existential emptiness but also the lack of opportunities and injustices endured by the indigenous Australians. 

Carrying all the ingredients of a solid film noir, Limbo has a startlingly unusual climax, shrouded in thick mystery and a sulfurous tone that, at the end, suddenly veers to bittersweet. Despite the shattering suggestions, the film ends on an optimistic note that is both quite surprising and welcoming. With no sensational scenes or thrills, Limbo penetrates our minds with a piercing lethargy.

The Blue Caftan (2023)

Direction: Maryam Touzani
Country: Morocco / France / other

It’s a beautiful and noble film, this drama directed by Maryam Touzani, who looks at the taboo of homosexuality in Moroccan society with honesty, elegance and courage. Co-written with producer Nail Ayouch, The Blue Caftan is Touzani’s sophomore feature, following up to the well-received Adam (2019). Both works star Lubna Azabal, who, in this latest, emerges in the company of Saleh Bakri and debutant Ayoub Missioui. Their performances are flawless.

Gently woven with impressionistic gestures and profound humanity, the film tells the story of Halim (Bakri), an admired maalem (masterful seamster), and his gravely ill wife, Mina (Azabal). They run a traditional caftan business in the Medina of Salé that urgently needs a pair of helping hands since the demand is high and the process time-consuming. The hard-working Youssef (Missioui), a gentle soul, is their new apprentice. Yet, at the center of this drama lies the hidden homosexuality and guilt of Halim.

There are wise words and decipherable silences throughout, and both the sensitivity and audacity of the director, who obtains the right nuances from the actors, are very much appreciated as it give us time to absorb and breathe lightly. The characters demonstrate superior feelings while treating one another with the utmost respect, consideration and love. When you have an optimum balance between actors in a state of grace, unblemished scenarios, complexity of feelings, spontaneous slices of humor, and quiet voluptuousness, then you know you are in good hands.

Full Time (2023)

Direction: Eric Gravel
Country: France

French writer-director Eric Gravel (Crash Test Aglaé, 2017) deserves all the praise he gets for Full Time, an excellent sophomore feature and sharp social observation of extraordinary impact. Strong in its commitment, the film also owes a lot to Laure Calamy (Only the Animals, 2019; My Donkey, My Lover & I, 2020), whose exceptional performance clarifies the reality of Julie, a single mother who struggles to raise her two children in the countryside while working in a demanding five-star Parisian hotel. 

The days start very early for Julie, who risks everything to change her life. While managing her limited time to go to a job interview at a distinguished market research company, she meets with considerable difficulties: a general strike, a complaining nanny, an inflexible supervisor, and an irresponsible ex-husband that leaves her financially tied up. Trapped in a hectic lifestyle, it’s the people and the city itself that don’t let her breathe. But as a strong and determined fighter, she admirably pushes back against adversity. And that’s the richness of a film that many people will be able to relate to. 

Gravel’s realism finds the right pacing, and the taut script, although precise and controlled, is implemented with dynamic camera movements and an efficient editing that help extract tension from the real-world scenes. Designed to provoke anxiety, Full Time is more gripping than most of the recent thrillers I’ve seen lately. And how could one not admire a woman who, constantly on the edge, refuses to collapse and keeps fighting for a better tomorrow?