Love Life (2023)

Direction: Koji Fukada
Country: Japan 

Shot with the intimacy and formality that is many times associated with Japanese cinema, Love Life is an emotionally complex melodrama rooted in grief, trauma and patriarchy, but branching out into insecurities, reconnections and family subtleties.

Writer, director and editor Koji Fukada (Harmonium, 2016; The Real Thing, 2020) brings us the story of Taeko (Fumino Kimura), and her husband Jiro (Kento Nagayama). The couple works together at the local social service center and is happily married despite Jiro’s father has never approved of their relationship. Taeko has a bright six-year-old son, Keita, from a previous marriage. A shocking tragedy suddenly shakes this family without warning. All of them will have to adapt to the new reality. Keita’s estranged biological father, a homeless Korean man (Atom Sunada), resurfaces shortly after Taeko finds out that Jiro had a fiancée before her, who happens to be their coworker.

Coping with grief and the role of women in the patriarchal Japanese society are not the only central topics here. Loneliness is also very present, clashing with the constant communication - in three different languages - that occurs among the characters. These people are wounded inside and vacillate in several ways when disoriented. We feel them as they breathe the discomfort of their lives in search of love and resilience. 

Melancholy infiltrates an acerbic story that employs too much composure for a plot that, even fairly unpredictable, is meandering and not as moving as the director would have intended it to be. Yet, the beautiful image composition comes with extraordinary sharpness and is to be praised - director of photography Hideo Yamamoto worked extensively with Takashi Miike and contributed to Takeshi Kitano’s Fireworks look great.

Fukada signs a drama punctuated with strong sequences of muted disenchantment and discreet humanism. They warn us about the impossibility of controlling life as well as the time required to overcome difficult phases.

Barbie (2023)

Direction: Greta Gerwig
Country: USA

The pink bubble surrounding the world-famous 11-inch plastic doll Barbie, which made its first appearance in 1959 in New York by the hand of creator and Mattel co-founder Ruth Handel, is hard to recreate, even in modern cinema. Yet, and despite the dominant sense of goofiness, the talented filmmaker Greta Gerwig (Lady Bird, 2017; Little Women, 2019) demonstrates she’s capable of surprising the viewer with clever takes on several important topics - from patriarchy to identity to consumerism and capitalism. Fresh ideas co-orchestrated with partner Noah Baumbach transpire throughout a film that jolts with jubilant humor, music, dance, and a few truths about real-world men and women.

In this artificial Hollywood fantasy, Barbie (Margot Robbie, who also produced) struggles with thoughts of death, and inexplicably gets flat feet and cellulite. These malfunctions prompt her to see Weird Barbie (Kate McKinnon) for advice. The latter urges her to leave Barbieland and go to the real world where she will connect with the unsatisfied Mattel-designer Gloria (America Ferrera), and her brash daughter, Sasha (Ariana Greenblatt). Whereas Barbie becomes aware of her depressive state, her forever boyfriend, Beach Ken (Ryan Gosling), makes a move to transform Barbieland into a patriarchal Kenland by brainwashing the remaining versions of Barbie. A pink revolution, not devoid of sweet reasonableness, is needed to reestablish peace and justice.

Benefitting from Helen Mirren’s effective narration, this feminist film hovers over the topics with wittiness, enjoyment and critical thinking. The result is cheerily upbeat. Great energy and creativity went into the construction, production and direction of this movie, which, as good as it is at times, still misses the heart. With that said, that final scene was simply brilliant, leaving me no other option than surrender myself to Gerwig’s intelligent humor. This Barbie movie might be too candied and flamboyant but is certainly not silly.

Lola (2023)

Direction: Andrew Legge
Country: Ireland, UK

Nobody can deny that Lola, an avant-garde sci-fi drama in the style of a docu-fiction, is inventive and bold. This experimental Guy Maddin-esque effort by first-time director Andrew Legge is invested in an enigmatic world of found footage, the ability to see the future, controversial decisions in wartime, and a bit of self-discovery. It plays like a feverish funhouse with eclectic music - from art-rock to electronic to the classical music of Elgar - and retro visuals that authenticate the power of film as a medium. 

Shot with several cameras and period lenses, and dreamt in black and white, Lola is the story of two orphaned sisters, Thomasina (Emma Appleton) and Martha (Stefanie Martini), who created LOLA, an advanced machine that can see into the future and intercept its messages. The year is 1949, but the sisters are already enthusiastic fans of David Bowie and Bob Dylan (the music of the future). Almost without notice, they became the secret weapon of the British military intelligence in the war against Germany, but not without a few predicaments that could change the course of history as we know it. 

Story-wise, there’s not much to be happy about it, but even self-indulgent at times, the film has a strange appeal, developing with imagination at an irregular rhythm. These emphatic montages can be very artistic but also gimmicky in its dramatic time travel hallucination. Lola is an unusual picture, insanely evocative and hard to predict.

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.

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.

The Beasts (2023)

Direction: Rodrigo Sorogoyen
Country: Spain 

This oppressive and often disturbing rural thriller set in the mountains of Galicia is cold as ice, and comes packed with a nerve-wracking tension that will take your breath away. The Beasts is a powerful work of nightmarish force by Rodrigo Sorogoyen (The Candidate, 2018), who, inspired by the uncomfortable atmosphere of Carlos Saura’s movies (The Hunt, 1966; Cria Cuervos, 1976), excels by reaching mastery dimensions in the direction, storytelling, editing, and staging. 

A French couple, Antoine (Denis Ménochet) and Olga (Marina Foïs), has been living their dream as ecological farmers in a small village in Galicia for a few years. They also have another business on the side, restoring abandoned houses to facilitate repopulation. However, rough peasant neighbors - brothers Xan (Luis Zahera) and Lorenzo (Diego Anido) - who have their own reasons for being frustrated with life, resolve minor conflicts with provocation and confrontation, both physical and verbal.

These characters are very easy to decipher but hard to digest. There’s a major shift of focus in the story line that caught me by surprise and whose resolution left me speechless. This is a rigorous, terrifying and implacable portrait of neighborhood harassment; and its topics - eco farms, renewable energy opportunities, resentment, xenophobia - are very current.

Benefitting from incredibly sincere performances from the four leads, Sorogoyen doles out a dark, shattering piece of filmmaking that is as brutal as it is essential.

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.

Close (2023)

Direction: Lukas Dhont
Country: Belgium / France / Netherlands

Lukas Dhont’s sophomore feature, Close, is an unheralded gem of a motion picture, and one of the most authentic depictions of teenage tragedy in memory. If the 31-year-old Belgian director, a specialized artisan in filming adolescence and the quest for identity, had made a name for himself with Girl (2018), he now takes a huge leap forward with a deeply moving drama about two inseparable 13-year-old friends, whose special connection is suddenly disrupted in the face of the quick judgment shown by their schoolmates. Tragedy leads to guilt, whose corrosiveness is deterrent to a normal life. 

It’s impossible not to be taken in by this devastating and powerful film marked by standout nuanced performances from the two young leads, Eden Dambrine and Gustav De Waele. One simply finds perfection in their acting debuts.

Finely framed and tightly constructed, the film deals with emotions that swell significantly in non-flashy ways. Every occasion is clearly expressed, including the beautiful scenes between mothers and sons. I found the payoff considerably higher here than in the majority of movies about the same topic. One thing is certain: after watching Close, you won't forget its protagonists such is the intimacy and pain associated with their interactions. 

While working on the thoughtful screenplay, Dhont drew inspiration from the book Deep Secrets: Boys’ Friendships and the Crisis of Connection by psychology professor Niobe Way. His formidable film was the recipient of Cannes Grand Prix and lingers in my head since I’ve watched it.

The Starling Girl (2023)

Direction: Laura Parmet
Country: USA 

The Starling Girl focuses on the negative impact of fanatic religious communities on young women's lives who are still searching for an identity. The drama, written and directed by debutant Laura Parmet, stars Australian-born actress Eliza Scanlen (Babyteeth, 2019), who, strong in her role, oscillates between uncontrollable desire and intense guilt.

In an ultra-conservative Christian small-town in Kentucky, the 17-year old Jem Starling (Scanlen) slowly  awakes to sexuality and love when the local pastor’s elder son, Owen Taylor (Lewis Pullman), 28, returns from Puerto Rico. But Owen, a youth pastor himself, is married, and it’s his tedious brother, Ben (Austin Abrams), who asks her family permission to court her (a community tradition), with a clear intention to marry her in the future.

Although the film seems more likable than incisive or original, the patchy romance at the center is not stale. There’s also family problems, oodles of hypocrisy and public humiliation, while the slowness of the staging is commensurate with the labor of a story that overwhelms. But, in the end, does the film reach the depth expected? Just about. Disregarding the flat, unsatisfying ending, there are a few disturbing and dramatic moments of quiet power.

The themes, emphasizing the clash between feelings and values, will resonate with free spirited individuals as much as it will upset fanatical religious devotees.

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.

Last Night of Amore (2023)

Direction: Andrea Di Stefano
Country: Italy

Embracing gritty neo-noir flavors, Last Night of Amore is the latest film by Italian writer-director Andrea Di Stefano, whose previous works include Escobar: Paradise Lost (2014) and The Informer (2019).

This is the story of Milan police lieutenant Franco Amore (played with charisma by Pierfrancesco Favino), known not only for his adamantine honesty but also for never having shot a gun over the course of his 35-year career. On the eve of his retirement, his life is turned upside down after an on-the-side security job goes wrong. Unexpectedly, it’s his super ambitious wife, Viviana (Linda Caridi), who pulls him out of a deep, dark hole. 

Shot in 35mm, this cop thriller mounted with a mix of plausible and beyond-belief scenarios, has its narrative set against the backdrop of a heated, disturbing Milan where the Italian and Chinese mafias cooperate with cynicism. Di Stefano knows his way around the genre and provides the adequate classic structure and the desperate, nocturnal atmosphere to make it noir. Even so, stalling moments found in the loopy middle part of the film weaken a tale that is only lifted up again by an amusing epilogue. Moreover, the Chinese characters are depicted as caricatures of themselves and never really look scary or even serious. 

Not even close to mind-blowing, Last Night of Amore still comes shrouded in an acceptable aura of obscurity that triggers curiosity.

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?

Indiana Jones and the Dial of Destiny (2023)

Direction: James Mangold
Country: USA

In the fifth installment of the widely popular Indiana Jones franchise, our eponymous adventurer (Harrison Ford) is retired, solitary and aging. However, he makes a final effort to adapt to a jumbled new world where even his young goddaughter, Helena (Phoebe Waller-Bridge), becomes an art smuggler addicted to cash. She operates with the backing of a smart kid, Teddy (Ethann Isidore), who can even pilot a plane without ever being inside one. The three join forces to prevent an old Nazi rival, Jürgen Voller (Mads Mikkelsen), from stealing an invaluable relic. 

At 154 minutes, Indiana Jones and the Dial of Destiny lacks a dramatic arc matching its length, being flat in the ideas and mechanical in the moves. Just like has been happening with the majority of Marvel spin-offs, there’s an attempt to overcome artistic laziness with technical prowess, which makes numerous action scenes feel insipid. Thus, we get that strange impression that Steven Spielberg - the director of all previous installments and just a producer here - would make this film more adventurous and entertaining than James Mangold (3:10 to Yuma, 2007; Logan, 2017; Ford v Ferrari, 2019). 

Hence, there are only hints of the old good salad but lots of mediocre dressing on this plate. The uninspired plotting comes with banal dialogue, while the action scenes, despite fast-paced, are pretty unimaginative regardless if they occur on land, air or water. Unless you have a thing for Ford, you're better off discarding this fun-free episode that typifies today’s obtuse contemporary movie culture.

Afire (2023)

Direction: Christian Petzold
Country: Germany

Celebrated German filmmaker Christian Petzold (Phoenix, 2014; Transit, 2018; Undine, 2020) wrote Afire, a bleak and cerebral drama piece made of small but estimable details, as an intriguing character study. Inspired by Eric Rohmer’s summer tales and Anton Chekhov’s 1896 short story The House with the Mezzanine, the director manages to get our attention as his fictional story unfolds with raw and uncensored power.

Leon (Thomas Schubert), a young published author, and Felix (Langston Uibel), a photographer and art school applicant, decide to spend a working holiday in the latter’s family house in a remote area by the Baltic Sea. Once they get there, they realize the house is already occupied by Nadja (Paula Beer working here with the director for the third time in a row), who is very sweet, untidy and sometimes noisy. She doesn’t say much about herself. Whereas the selfish and uptight Leon is too frustrated and obsessed with writing his second novel to have fun with the others, the outgoing Felix and the luminous Nadja never miss an opportunity to socialize and enjoy the sea. There’s a massive forest fire nearby that suddenly poses a threat; yet everyone seems deeply immersed in their own thing to notice. 

Petzold controls the staging with a firm hand, developing intriguing character dynamics. But do the narrative parts build into something valuable as a whole? The conclusion, associating accomplished writing with something that has to be experienced, isn’t so convincing. Ultimately, in the impossibility of feel any sympathy for the sulky protagonist, we have the raw fragility of humans and the legitimacy of neat performances to cling to. At the very least, it’s interesting to see how strangers react under certain circumstances and how convivial atmospheres can get acerbic when someone in the group contaminates them. 

Petzold’s Afire is an erratic endeavor that can be considered minor within a filmography of so many accomplishments. Although imperfect, it deserves a favorable mention.

Stars at Noon (2023)

Direction: Claire Denis
Country: France / Panama / other

French director Claire Denis, who gave us unique moments of cinema with Beau Travail (1999), White Material (2009) and High Life (2018), based herself on the 1986 novel The Stars at Noon by Denis Johnson for this new drama/thriller of the same name. In it, a young American journalist, Trish (Margaret Qualley), is stranded in Nicaragua with no money and no passport. To survive, she resorts to a police subtenant (Nick Romano) and the vice-minister of tourism (Stephan Proaño), to whom she offers sexual favors in exchange for money. With important elections approaching, they promise to help her leave the country but with no practical effect. That’s when she meets Daniel (Joe Alwyn), an English businessman working for an oil company. This man could be her last chance or her ruin. 

Stretched to two hours and a half, this monomaniacal film is sporadically intriguing, yet its overweening cynicism leaves a curdled aftertaste. There’s lack of detail in the political and corporational considerations and the romance is too indolent to convince. The actors, who are not to blame, sink into the swamp of good intentions because the film sort of trivializes what would be a terrible reality. 

By generating some cheesy and sticky do-or-die tension, Denis makes it hard for us to take this story seriously. The thrills are not strong enough to push us to the edge of our seat. The one-dimensional characterization and a dead-earnest execution soon put an unusual spin on a story where nearly every beam that strives to hold it together collapses. But perhaps the biggest problem of all is that there's nothing here we haven't seen before.

Past Lives (2023)

Direction: Celine Song
Country: USA 

First-time feature director Celine Song captures an amazing story about two people who share an uncontrollably strong connection over the course of their lives. Past Lives has an autobiographical touch and offers a memorable cinematic experience well worth having. How many love stories can say they've spanned decades and crossed borders? The overall feeling here is almost ethereal and memory-like but also achingly earthly, which makes this drama alluring and emotionally rich. The director, who goes off the beaten path to film the very deep essence of a platonic relationship, nourishes this tone of disillusion and unfulfillment that coats the entire film. It’s all for an intended purpose. 

The story follows inseparable childhood friends Na Young and Hae Sung, who, at the age 12, lose track of each other when Na Young emigrates with her artist parents to Canada. 12 years later, they reconnect again through Facebook - she lives in New York, works as a playwright, and changed her name to Nora (Great Lee); he remained in Seoul all those years but plans to learn Mandarin in China. Despite acting like lovers, they lose contact once again due to distance and career commitments. Another 12 years have passed and they finally meet when Hae Sung (Teo Yoo), who works a regular job, visits New York. She’s now married to Arthur (John Magaro), an American writer. How will they react to this confused state of affairs? 

Past Lives is keenly observed, expertly mounted, and marvelously acted. The build-up gains slow momentum but once it finds its rhythm, the film takes off to positively devastating places that will make your heart grow three sizes while watching it. Distilling its charm with delicacy and introspection, this is a work of refreshing maturity. The director treads through heartfelt territory with authenticity and a no-holds-barred understanding of the complexities of the situation.

Asteroid City (2023)

Direction: Wes Anderson
Country: USA 

Directed by Wes Anderson, Asteroid City blends romance, sci-fi, western, and comedy in an offbeat manner, but stumbles on a few metaphysical questions - death, human existence, the extraterrestrial - that leave us adrift. The bits and pieces of this uninspired chamber film are choppily assembled, with clumsy dialogue serving as a makeshift bridge for passionless scenes fabricated with an enforced mood and drowsy vibes. Here, everything is artificial, including the scenario. 

Anderson and his regular collaborator, the screenwriter Roman Copolla, worked together for the fifth time, drawing inspiration from films by Robert Altman, John Sturges and Paul Newman. The year is 1955. Days after the death of his wife, the confident photojournalist Augie Steenbeck (Jason Schwartzman) begins a romance with the unenthusiastic actress Midge Campbell (Scarlett Johansson). He doesn’t get along with his father-in-law, Stanley Zak (Tom Hanks), and is proud of his shy little genius son, Woodrow (Jake Ryan), a Junior Stargazer winner. All these and other characters, along with all their moves, are products of the mind of Conrad Earp (Edward Norton), a renowned playwright.

With a convoluted scrip, fatuous characters, and obtuse comedic tones trailing off into alien-invasion nonsense, no dream cast could succeed in turning this fabrication into a hip and funny cinematic experience. Both its surface and essence are phony but, worse than that, is the movie’s inability to offer any insight about anything. Asteroid City is equal parts tackiness and boredom. As a result, I urge you to avoid being quarantined by this desert of ideas.

Chevalier (2023)

Direction: Stephen Williams
Country: UK

Acted and directed with poised energy, Chevalier is a biopic that chronicles the rise to fame and fall into oblivion of Guadeloupe-born mulatto Joseph Bologne (Kelvin Harrison Jr.), a brilliant violinist, conductor, composer, and swordsman who once embarrassed Mozart on stage, defeated all his fencing opponents, and fell in love with an unhappily married marquise (Samara Weaving) with a singing talent.

More often than not, this watchable drama film is expository of the racial discrimination lived in 18th-century France ruled by Marie Antoinette (Lucy Boynton) and marked by an arrogant aristocracy. The film exposes Bologne’s gifts, which made him chevalier of Saint-George, but also his constant struggles and personal ambition to conduct the Paris Opera, the highest musical position in France. 

Steeped in rich colored costumes and passionate emotions, the film - directed by Stephen Williams from a screenplay by Stefani Robinson - achieves a delicate osmosis between commercial film and auteur cinema. It’s a mature exploration of a big theme, hampered only by its simplified, conventional storytelling. Although this account deserves to be told - the past keeps looking at the present, in tatters - you can see where it goes from miles away. Yet, the actors never curtsies to caricature, and the film is worth seeing just for knowledge of its character and his moment in history. Pianist Kris Bowers, who also scored Green Book (2018) and King Richard (2021), penned the music.

Padre Pio (2023)

Direction: Abel Ferrara
Country: Italy / Germany

Padre Pio, a German-Italian production directed by the peculiar Abel Ferrara (Bad Lieutenant, 1992; The Funeral, 1996; Tommaso, 2019), is a joyless, graceless faith-related drama that straddles between esoteric turmoil and political activism. Over the course of this biopic, the focus scatters into many directions, the handheld camera makes you dizzy, and the excitement is limited. 

Despite obstacles, the darkness of the era (the story is set at the end of World War I) is well portrayed and Shia LaBeouf ’s performance is positive. The most striking parts of the movie are those in which Pio, who had arrived at a Capuchin monastery in the poor city of San Giovanni Rotondo, opens up with his God. Suffering tremendously with what he sees (greed and slavery are devouring the town) and with what he hears (some confessions are nauseatingly perverse), he is often attacked by the devil himself. Still, he refuses to abandon hope.

The fearless Ferrara tries to tackle this fascinating character but loses traction in a film that, asking the right questions, never finds dramatically persuasive answers. There’s not enough zest to the storytelling, which rather moves bluntly between demonic horror and somber spectacle. Choppy, unpolished and undeveloped, Padre Pio will certainly divide audiences.