Fast Charlie (2023)

Direction: Phillip Noyce
Country: USA 

Directed by Phillip Noyce, known for films like Rabbit-Proof Fence (2002) and The Quiet American (2002), Fast Charlie is an old-school action crime thriller that incorporates elements of romance, creating a contrast with its unremittingly violent scenes. Adapted from Victor Gischler’s novel Gun Monkeys, the film maintains a straightforward narrative, offering instant firmness and watchability. And there’s this sly humor that venomously assesses the lack of morality in the Southern mob lands.

Pierce Brosnan takes on the role of Charlie Swift, a hitman loyal to Stan (James Caan in his last role), an aging mob boss in Biloxi, Mississippi, for over 40 years. When a rival boss (Gbenga Akinnagbe) from New Orleans arrives, leaving a trail of death, Charlie is tasked with avenging the losses. He ends up teaming up with his crush, Marcie Kramer (Morena Baccarin), whose ex-husband was targeted by Charlie.

Sometimes ferocious, sometimes funny, occasionally feeling routine, Fast Charlie is an ambitious adaptation by Richard Wenk, offering a taste of 1980s action flicks, where a hero like Charlie could be played by Charles Bronson or Chuck Norris. 

Noyce's no-frills approach to the story is an asset, eschewing sensationalist tactics. Still, you may find yourself wishing less obvious, more demanding situations and a more substantial result. It could use a lot more discipline in key moments, but the nature of the story naturally supplies the required energy to keep us engaged regardless the predictability of the plot. For all that, Fast Charlie is a mildly entertaining little crime thumper that sufficiently delivers on its genre expectations.

Wonka (2023)

Direction: Paul King
Country: USA

In Paul King’s Wonka, a musical comedy that serves as a prequel to Willy Wonka & the Chocolate Factory (1971) and Charlie and the Chocolate Factory (2005), a younger and creatively inclined Willy Wonka, portrayed by the French sensation Timothée Chalamet, takes his first steps in the art of making chocolate and magic. To establish his own business and make it prosper, Willy must contend with exploiters Mrs. Scrubitt (Olivia Colman) and her partner Bleacher (Tom Davis), along with a trio of envious businessmen and saboteurs controlling the Chocolate Cartel. Success might be elusive without the help of Noodle (Calah Lane), a young orphan girl, and Oompa-Lumpa (Hugh Grant), a small human who feeds on cocoa beans.

Visually sumptuous with deluxe, colorful settings, Wonka struggles to win hearts with its cardboard characters. The movie appears to lack a genuine sense of humor, and the script by King and Simon Farnaby relies on questionable options, resorting to overused cinematic tricks and treats.

As a sanitized tale that succumbs to the weight of its budget, Wonka comes across as formulaic and uninspiring. The excessive use of old-school songs becomes tedious, and the story lacks the expected magic and soul that usually populate this type of picture. The film falls short across the board, and even Chalamet's charm fails to elevate the bland cinematic flavors. At the very least, the film may leave you craving chocolate.

The Crime is Mine (2023)

Direction: François Ozon
Country: France

In François Ozon’s latest film, The Crime is Mine, the narrative follows Madeleine Verdier (Nadia Tereszkiewicz), a struggling young actress accused of murdering a renowned producer who had sexually assaulted her during an interview. Defended in court by her best friend and roommate, the unemployed lawyer Pauline (Rebecca Marder), they initially bask in fame until the iconic silent cinema actress, Odette Chaumette (a scene-stealing performance by Isabelle Huppert), claims responsibility for the crime.

Ozon, infusing the jazzy vibes of the 1930s, adapts a play from that era, creating a whimsical, feminist period farce filled with droll humor and a touch of charm. The film takes a lighthearted approach to murder, capturing the era's spirit through an abundance of color and a joyful atmosphere conveyed in briskly-paced, effortlessly chaotic scenes.

This stylized fusion of theater and cinema, infused with social satire, sarcasm, plenty of lies, and a blend of wacky and goofy moments, explores the burlesque side of screwball comedies. Drawing inspiration from the works of Ernst Lubitsch, Frank Capra, and Sacha Guitry, Ozon mounts the film with a refreshingly old-fashioned flair that doesn't come off as an ironic throwback or shameless nostalgia pandering. The production design is lavish and detailed, complemented by outstanding supporting performances from Fabrice Luchini and André Dussollier.

Less brilliant than 8 Women (2002), The Crime is Mine is performed with an impressive suppression of passion, but never losing sight of more serious aspects akin to today’s world. The elements may feel familiar, even hokum, but Ozon approaches the material with enthusiasm. The film ultimately rewards those seeking a light, feel-good piece of entertainment. 

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.

The Teacher's Lounge (2023)

Direction: Ilker Çatak
Country: Germany

In The Teachers’ Lounge, Ilker Çatak’s fourth feature film, a well-intentioned yet naive young teacher, Carla Nowak (Leonie Benesch), finds herself entangled in a troubling situation spurred by a series of thefts at the German public school where she works. This skewed drama unfolds with a growing sense of discontent, occasionally adopting the intensity of a thriller.

Carla embarks on a clandestine investigation using questionable methods, only to discover a flawed scholar system, racial prejudice, and persistent manipulative tactics that hinder genuine problem-solving. The film captures her traumatic experience in a parent-teacher conference, and her difficulties in dealing with pressure from both cynical colleagues and aggressive students.

While the film raises thought-provoking questions about truth and justice, it refrains from providing definitive answers. Despite its noble intention to address contemporary classroom issues, the narrative loses momentum after a promising start, falling into the category of films that are admired more than enjoyed.

In reality, there's an element of outrage in this indirect call to civility, but the film feels somewhat slick and gimmicky. Moments with a stronger sense of real-life authenticity are juxtaposed with others featuring mannered dialogues and postures, causing the narrative to get bogged down in details. The Teachers’ Lounge could have been more involving, given its potential. 

A Male (2023)

Direction: Fabian Hernandez
Country: Colombia

A Male, the debut feature by Colombian filmmaker Fabian Hernandez, unfolds as a modest low-budget drama set in the unforgiving streets of Bogotá, dominated by gangs. The protagonist, Carlos (Dilan Felipe Ramírez Espitia), is a 16-year-old who lives in a youth shelter. The central character, Carlos (Dilan Felipe Ramírez Espitia), a 16-year-old residing in a youth shelter, grapples with a girly face and a fragile physique in the predominantly masculine and violent neighborhood. His sole aspiration revolves around surprising his incarcerated mother with a visit on Christmas Day. 

The premise holds promise, and we feel grateful for this is not your typical gangster or coming-of-age flick.  However, the potential dissipates rapidly as the narrative fails to build sufficient tension, never culminating in a compelling climax. The lonely boy's struggle to assert his toughness lacks the depth needed to resonate emotionally. While sensitive to the mix of sadness, bravery, and resolution within Carlos, the film stumbles in handling a subject that doesn’t cope well with melodramatic insistence. 

I was unable to connect with the protagonist and what he was going through. Perhaps the director lacked the skills to coax a psychologically complex performance out of the debutant actor. Hence, the film doesn’t deliver enough as each development is unadorned and plain, lessening in emotional power and culminating in an unsatisfying ending. Hernandez's exploration of a misfit in conflict with the toxic masculinity of his environment ultimately misses the mark.

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.

Napoleon (2023)

Direction: Ridley Scott
Country: USA 

Ridley Scott's Napoleon attempts to capture both the epic military achievements and personal relationships of one of history's most powerful figures, starring Joaquin Phoenix as the French emperor and Vanessa Kirby as Empress Josephine. Known for his prowess in historical dramas, Scott's latest endeavor falls short in grasping the complexity of Napoleon's rise and fall.

The film delves into the events that shaped Napoleon's trajectory, offering a reductive, almost anecdotal vision of his life. While the rough combat scenes stand out as the film's most attractive aspect - the bloody battles against the Russians are potentiated by gloomy undertones and Martin Phipps’ tenebrous score - the overall narrative comes across as disjointed and superficial. 

Even cinematically rewarding in terms of carefully framed shots (the evocative cinematography is by Dariusz Wolski), what we experience is lifelessness. Phoenix's portrayal of Napoleon oscillates between bravery and vulnerability, mirroring the film's own conflicted nature. The lack of a personal perspective also prevents the film from delving into something bolder. 

To make matters worse, Phoenix and Kirby have no chemistry, and the film's energy fizzles out before reaching its conclusion. Abel Gance successfully tackled Napoleon's story in 1927, but Scott's adaptation is another missed opportunity to explore the complexities of France's most significant military commander and historical ruler.

Jeanne du Barry (2023)

Direction: Maiwenn
Country: USA 

Jeanne du Barry, a historical fresco directed, starred, and co-produced by Maiwenn (Polisse, 2011; Mon Roi, 2015), struggles to generate excitement. She shoots the over-the-top costumes and the exuberant Palace of Versailles with a sharp eye, however, the film is totally forgettable. 

The narrative follows Jeanne Vaubernier (Maiwenn), a modest woman with aspirations of social ascent, as she becomes the mistress and favorite of King Louis XV (Johnny Depp). The scandalous romance might have shocked Versailles, but here fails to break free from the constraints of a tightly constricted period drama, resulting in a muddled storytelling experience. Sadly, the potential for vast dramatic possibilities is stifled by a squared and monotonous narrative. 

With predictable plot contours, even the envy and gossip, expected in the French courts, are played too safe. Maiwenn manages to transform the manners and behaviors of the time into effective humor, but the film suffers from a disinterested, passionless performance by Depp, which contributes to the film's plodding pace. This way, the audiences are deprived from the engagement needed to appreciate its historical context.
The various parts of Jeanne du Barry are too uneven to form a decent whole, while the elegiac finale brings even more tedium. 

The Old Oak (2023)

Direction: Ken Loach
Country: UK

Ken Loach is an English director whose work we respected in full. His new drama, The Old Oak, is realism pushed to tears, a minor opus that deals with two topics: impoverishment in former mining towns and the arrival of Syrian refugees. How finely Loach has woven these thematic threads? 

While not packing the same punch as I, Daniel Blake (2016) or Sorry We Missed You (2019), the film intersperses lukewarm and powerful moments, evincing a softness that occasionally leans on pathos and sentimentality, diluting the impact of the narrative. Set in Durham, the story introduces Yara (Ebla Mari), a Syrian refugee with a passion for photography, who arrives in town just to be unconsoled with a broken camera and a less-than-welcoming reception. Already underwhelmed by crisis, some locals develop an unfounded xenophobia that translates into hate, lies, and betrayal. But there’s also kindness and compassion, which especially apply to TJ Ballantyne (Dave Turner), the broken yet goodhearted owner of The Old Oak, the sole pub in town, in urgent need of repairs. 

Paul Laverty’s screenplay doesn’t come with major surprises, while Loach’s direction is quietly effective as if the camera wasn’t there. Although navigating predictable territory, they keep tackling social issues deeply rooted in our time and transporting them to the screen with a naturalistic Emile Zola-like approach. It’s a lucid film that, hitting where is necessary, ends up uneven. The optimistic path may touch the viewers’ hearts, but the full complexity of the subject is not there. Yara is reduced to a functional role, her words of lament feeling more superficial than deep. Our hearts go to TJ, not Yara, a consequence of the film’s vulnerabilities.

The pair Loach / Laverty, who has been working together since 1996, leaves us at the doorstep of an intercultural consolidation one can only dream of. The intentions are noble but The Old Oak doesn’t really come off despite the painful dramas behind each character.

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 Pigeon Tunnel (2023)

Direction: Errol Morris
Country: UK 

The Pigeon Tunnel lifts the veil on the life of David Cornwell, better known as John le Carré, the renowned author of espionage classics such as The Spy Who Came From the Cold, Tinker Tailor Soldier Spy, and The Constant Gardener. Weaving together sparse archival footage, newspaper articles, and re-enactments of Cornwell’s life episodes, this documentary frames a singular portrait of a man of mystery whose life inspired his literary masterpieces.

The notable documentarian Errol Morris, who excelled with The Thin Blue Line (1988) and Gates of Heaven (1978), takes on the role of interrogator and interviewer in a competent manner. However, despite an imposing score and enigmatic imagery, the film lacks a certain tension that one might expect from a spy-related narrative. Yet, the film compensates with interesting revelations and intimate details that will probably make fans and newcomers care.

The documentary delves into le Carré's complex relationship with his con artist father, Ronny, and mentions Kim Philby, a notorious spy for the Soviet Union and betrayer of the Queen, who held a deep admiration for le Carré's work. Its main strength lies in le Carré's secret life, shedding light on themes of betrayal, deception, duty, and morality. The eternal dance between manipulators and the subjugated is vividly portrayed, adding depth to the narrative. 

Although Morris' direction may be criticized for feeling somewhat static, there is a certain fascination in witnessing how le Carré, often labeled the ‘poet of self-hatred’, crafted novels that seamlessly blended imagination and personal experiences with unparalleled competency. The author died in 2020 at the age of 89.

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.

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.

Fingernails (2023)

Direction: Christos Nikou
Country: USA

Christos Nikou, known for his impactful directorial debut in Apples (2020) after working as an assistant director on notable films like Yorgos Lanthimos’ Dogtooth (2009) and Richard Linklater’s Before Midnight (2013), falls short with Fingernails. This low-stakes fiction attempts to blend sci-fi, romance, and drama but doesn't quite hit the mark. The central concept revolves around a machine determining one's true feelings for a partner, an idea that, while initially intriguing, comes off as rather silly. The film ends up breaking its own spell with repetition, totally missing the pounding pulse of truth.

The script centers on Anna (Jessie Buckley) and her husband, Ryan (Jeremy Allen White), who score a perfect 100% in their love test, yet their relationship appears to be dwindling. Doubt creeps in when Anna meets Amir (Riz Ahmed) at the love testing institute that she secretly started working for. Fingernails becomes a slow descent into torpor with not enough style or swagger to make it big. It feels like the work of a young director trying to impress without having fully formed ideas. 

Despite potential in the machine-versus-heart dynamic, the film falters, and even Jessie Buckley's charm can't salvage an underwritten story that yearns for more depth. Regrettably, the execution feels too slick and fabricated to convey authenticity, the romance comes across as feeble, and the emotions fail to reach the heart. Alas, I didn't buy a word of it.

The Royal Hotel (2023)

Direction: Kitty Green
Country: Australia

Julia Garner and Jessica Henwick star in The Royal Hotel, an Australian psychological thriller co-written and directed by Kitty Green, a documentarian whose career reached a pinnacle four years ago with the unforgettable fictional drama The Assistant (2019). Not as strong, her new dramatic effort centers on two Canadian best friends - the disquieted Hanna (Garner) and the undisturbed Liv (Henwick) - who experience a toxic male environment while working in a remote pub in the Australian outback. The tension comes from intoxicated men, dubious in their intentions and desperately searching for attention. They repeatedly pose a threat to them.

Green proves she can build up an atmosphere, but this story needed twists to shake things off a bit. The Royal Hotel is ultimately more about mood than action, and it never really takes off, settling into a familiar routine despite the underlying tension. It’s exceptionally confident in the tone it wants to set, but not as much in the story it wants to develop. The pace is slow-burn, the mood positively throbs with anxiety, and the film sways drunkenly towards an abrupt conclusion. Too bad the provocative premise wasn’t more fully explored. 

The cinematography by Michael Latham has an exciting, alive quality despite the dusky tonality of the long nights captured in camera, but if you're seeking horror, thrills, or stimulation, this may not be the film for you.

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.

Totem (2023)

Direction: Lila Aviléz
Country: Mexico 

Tótem is the sophomore feature by Mexican writer-director Lila Aviléz, whose debut feature happened in 2018 with The Chambermaid. It’s an unsentimental and deeply personal family drama seen through the eyes of Sol (Naíma Sentíes), a 7-year-old girl who is psychologically preparing to bid farewell to her father, Tonatiuh (Mateo García Elizondo), who is battling cancer. The story revolves around the emotions surrounding Tonatiuh's 27th birthday party, a significant event during this challenging period of their lives. Despite the seemingly grim backdrop, there are many touching details to be discovered within this narrative, thanks to well-developed characters, pitch-perfect performances, and a tactful direction.

The birthday celebration occurs at the house of Sol’s undemonstrative grandfather, organized by her aunts Alejandra (Marisol Gasé), who hires a mystic woman to cleanse the house from negative energies, and Nuria (Montserrat Marañón), a single mother grappling with alcohol issues. Despite aggravating financial problems, the family decides to keep Cruz (Teresita Sánchez), Tonatiuh’s tireless caretaker. 

Tótem provides a grounded, well-rounded insight into the value of life before it changes irrevocably. It belongs to the category of small choral films that, having something to say, are all the more engaging because they're rooted in truth. However, despite its keen observations and insight, it might not leave you completely floored.

Compact and modest in its storytelling, this film can be both heartwarming and heart-wrenching in equal measure. It feels good to see the tensions and conflicts within the family being engulfed by tenderness and love. The film's restraint, brought up by a refined cinematic language, often communicates more through silence than words. Yet, its tenuousness and temperance might limit its reach to a broader audience.

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.