Like Father, Like Son (2013)

Directed by: Hirokazu Koreeda
Country: Japan

Movie Review: Hirokazu Koreeda is certainly one of the most interesting contemporary Japanese screenwriters and filmmakers of our times. His latest film, “Like Father, Like Son”, despite not so irresistible as other previous works, presents us an inspired plot that bestows a different perspective to the so recurrent theme of switching babies at birth. As usual, the concept of family is the central point, here adorned by a quite curious character study of Ryota Nonomiya, a successful businessman but also an absent and demanding father who tries to prepare his son, Keita, to one day become like him. Contrasting with his good-natured wife, Ryota can’t hide his frustration when Keita reveals some difficulties to become the model he aspires. When the Nonomiya’s were informed by a public hospital that Keita is not their biological son, Ryota tries to get the custody of both kids. Once his plan failed by the refusal of the Saiki family, which showed to have a completely different posture in life, he seemed promptly decided to give up the child he raised for six years to recover the one of his own blood. “Like Father, Like Son”, adopting a more direct storytelling, didn’t evince the introspection or subtleness of “Nobody Knows” and “Still Walking”, or the sense of adventure of “I Wish”, but was able to maintain well elevated the levels of sensibility and simplicity of processes. With a fabulous direction and a particular ability to enchant us, Koreeda keeps depicting grounded family stories in a consistent way.

Love and Air Sex (2013)

Directed by: Bryan Poyser
Country: USA

Movie Review: With the curious title “Love & Air Sex”, Bryan Poyser’s third feature is a wild, jolly, and (in)decent romantic comedy that spreads good vibes with a strong start, but ultimately struggles a bit in its final moments to maintain the same balance. Stan (Michael Stahl-David) travels from LA to Austin, Texas, when he finds out that his ex-girlfriend Cathy (Ashley Bell) will be there, coming from New York. What they don’t know is that their friends, Jeff (Zach Cregger) and Kara (Sara Paxton), who are going to welcome them in their homes, also broke up their relationship. Thus, men and women separately prepare a night of drinks. While the women decide to go to a night pub, the men start rehearsing for the Air Sex World Championship, a funny show currently taking place in the city, where people literally ‘fuck the air’. In either side, casual encounters with other people will bring uneasiness, despite of the couples’ pretention that nothing is wrong. The film was set up in a cool atmosphere, bringing up a few funny moments. In terms of romance, “Love & Air Sex” didn’t show so much warmth but was able to compensate in energy what lacked in substance. It was meant to please comedy fans in general or anyone who just wants to loosen up a bit and spend some laid-back time without worry with the inconsistencies of the plot.

Wolf (2013)

Directed by: Jim Taihuttu
Country: Netherlands

Movie Review: “Wolf” is a rowdy drama that tells the story of Moroccan Majid Zamari, a talented kick boxer who has no reasons to be satisfied with his life in Netherlands, falling in a downward spiral of drugs and organized crime. Set in black and white, the first solo film by emergent director Jim Taihuttu, adopts a violent posture supported by a solid dramatic side that explains not only the anger and frustration of the main character, but also his sort of immoral and untamed behavior. So many bad things are happening in Majid’s life - his father doesn’t speak to him, being ashamed of his conduct; his older brother is dying in the hospital; he is unable to be a good example for his little younger brother who shows to have problems in school and is getting out of the track; his best friend, Adil, with whom he usually hangs out along the hood, is definitely not a good influence; his former girlfriend, Tessa, is now turned into a prostitute; and due to a great ambition and the will to protect his family’s interests, Majid starts working for the Turk dealer, Hakan, the feared header of a criminal gang. Despite the boasting airs exhibited here and there, the film is simultaneously vibrant, brutal, and depressive, with the latter being enhanced by establishing shots of the Dutch suburbs. Actor Marwan Kenzari, chosen once again by Taihuttu after the participation in his 2011 road movie, “Rabat”, makes proof of his talent, turning “Wolf” into a very credible odyssey into the Dutch multicultural underworld.

Borgman (2013)

Directed by: Alex van Warmerdam
Country: Netherlands / Belgium

Movie Review: Nominated for Cannes’ Palm d’Or, “Borgman”, is a cold-blooded thriller coming from Netherlands that will leave you disconcerted, functioning as a psychological study of human evilness and showing the power of manipulation. The film didn’t disappoint after a magnificent start, when a raging priest and two other men embark in a manhunt, finding a camouflaged hole in the forest ground that served as a hideaway for Camiel Borgman (Jan Bijvoet), a merciless criminal who operates conjointly with his gang of four followers. Borgman, on the run, infiltrates within an unbalanced upper-class family, taking advantage of the unhappy and insecure Marina (Hadewych Minis), and setting a strange bond with her kids, especially the younger daughter, Isolde. A sinister game starts to be played, keeping the high levels of suspense and spreading a torrent of madness, here presented in bizarre forms together with sarcastic humor. The story lives pretty much of unexpected turns that kept the viewer searching for answers, deliberately left unexplained in order to baffle us and increase our curiosity. Filmmaker van Warmerdam directed with proficiency and refinement (evoking Pablo Larraín’s morbidness, dark humor, and cynicism), and also appears as an actor, playing one of Borgman’s gang fellows. In this hymn to insanity, Jan Bijvoet and Hadewych Minis were fabulous in their roles, playing ‘the game’ with diligence and daring to convert “Borgman” into a cult-film.

Real (2013)

Directed by: Kiyoshi Kurosawa
Country: Japan

Movie Review: Japanese filmmaker Kiyoshi Kurosawa has been making a solid career with interesting incursions on thriller/horror (“The Cure”, “Pulse”) and also drama (“Charisma”, “Tokyo Sonata”). In his new film, “Real”, he tries to combine both genres and still add some romance and fantasy, but the final outcome wasn’t what its premise made us to expect. The film tells the story of two lovers, Koichi (Takeru Sato) and Atsumi (Haruka Ayase), a famous distressed manga drawer who tried to commit suicide, remaining in profound coma for more than a year. Koichi will consent to be connected with Atsumi’s brain, through a modern machine, in order to understand what were her motives and try to facilitate her return to the real world. His findings and clues will project them to their past at Hikone island, their hometown, where some truths are revealed. There are some good aspects to be appreciated in this Kurosawa’s cinematic adaptation of Rokuro Inui’s novel, “A perfect day to plesiosaur”, especially in the visual field, but the narrative is inconsistent in tone and its revelations didn’t create significant impact. Among ghostly apparitions, which were not so spooky by the way, and ridiculous philosophical zombies who clearly aim Manga’s enthusiasts, “Real” relies on acceptable dreamlike tones to create psychological tension, but presents a romance devoid of chemistry and some sci-fi moments that were more laughable than atmospheric. Strong production values in an exhausting story that only satisfies partially.

12 O'clock Boys (2013)

Directed by: Lotfy Nathan
Country: USA

Movie Review: ‘12 O’clock Boys’ is the name of an illegal group of urban dirt-bike riders from Baltimore that inspired this documentary directed by New York based filmmaker and visual artist, Lotfy Nathan. The ‘boys’ challenge the local police by riding at high speed in streets packed with traffic and showing off through bike stunts. These provocative behaviors reveal to have two reverse sides for a powerless police that adopted a no-chasing policy in order to guarantee public safety. For the majority of Baltimore’s inhabitants they are seen as a radical group, while for others, such as the young Pug who is trying to join them at any cost, they are heroes and models to follow in the near future. Pug’s mother, Coco, is the one not to be satisfied with her son’s obsession, but will she be able to make him see differently? This family interaction along with decent shots of the dangerous neighborhood, were the aspects that held up the levels of consistency, since the streets’ stunts soon started to be repetitive and finally a bit boring. Even with the slight sensation that the film could have been better developed, “12 O’clock boys” is at the minimum curious and thought provoking, having a voice that speaks for itself. I felt confronted by these aimless men who don’t seem to care about the consequences of their acts, but only their exhibitionism and ego. Is the documentary sufficiently explanatory? Yes. Educative? No. Fascinating? Reasonably.

At Middleton (2013)

Directed by: Adam Rodgers
Country: USA

Movie Review: Adam Rodgers’ first feature film, “At Middleton”, joins Vera Farmiga and Andy Garcia (who also produced) in a one-day-romance set at Middleton College campus while their children were taking a tour. Garcia plays a polite and charming cardiac surgeon who gives special attention to exterior appearances, demanding neatness from his respectful son. In turn, Farmiga gives shape to Edith (Farmiga), a daring, mouthy, and pretty much alive woman who seems to have difficulties to handle her undistinguishable daughter Audrey (played by Vera’s younger sister, Taissa Farmiga). The quartet will provide us with several situations, some digestible and some nauseating, in which the youngsters try to act like adults while the adults looked like two naughty kids when have some minutes of freedom. I cannot say that the film hasn’t one or two decent moments, but for the most of it, its jokes didn’t work very well and the adopted posture was too childish and stale to engage. I also found the episodic presences of nerds, teachers, and visitors, a bit forcible, once they only appear in convenient circumstances that never seemed natural. “At Middleton” tries to pose as cool or irreverent, but ultimately feels feckless, just to mention a word widely used by the characters in this film. Despite some irritating personalities, the acting was fine in general, but didn’t save the film from being a flop on comedy and especially on romance.

On the Job (2013)

Directed by: Erik Matti
Country: Philippines

Movie Review: Filipino crime thriller “On the Job” can be seen as an unrestrained exposure of crooked politics, corrupt police, and the underworld of narcotrafficking. Inspired on true events, Erik Matti’s 14th feature film centers on two inmates, the veteran Tang (Joel Torre) and the young and inexperienced Daniel (Gerald Anderson), who occasionally get out from the prison to work as carriers or hitmen for Madame Thelma and her criminal organization. In parallel and in an opposite front, we can follow the determined officers Acosta (Joey Marquez) and Frans (Piolo Pascual), a newcomer whose honesty will impel him to fight anyone, including his own family. Here we can take a good look into marginal Filipino society and even learn and understand a few things about the interveners’ mentality. As exemplification, we are shown that to kill someone targeted has to be considered merely work and never personal; or that crowded places can be perfect for some executions. Both plot and characters are a bit entangled, and some scenes sporadically relegate the film to commonplaces, but “On the Job” offers us a vivid characterization of a country’s system that operates in dark alleys, confined corridors, and other claustrophobic scenarios where we can almost feel the pestilent air of crime and death. Matti was able to create intensity and none situation seemed out of reality or uncontrolled. Despite the good critical responses, the film was a commercial flop, both locally and outside doors.

Run and Jump (2013)

Directed by: Steph Green
Country: Ireland / Germany

Movie Review: After “New Boy”, an acclaimed short film dated from 2007, filmmaker Steph Green makes her debut feature with “Run and Jump”, a sweet and gentle drama that doesn’t try to take any emotional advantage of Ailbhe Keogan’s screenplay (also a solid debut). Instead, it presents us a sober approach, expressing a lot of feelings in its own way and being touchy in a legitimate manner. Mother of two kids, Vanetia Casey (Maxine Peak) is a frustrated and exhausted Irish housewife who accepts to host Ted Fielding (Will Forte) in her house for a while. Ted is an American doctor interested to make a case study of her husband, Conor (Edward MacLiam) who, at the age of 38, suffered a stroke that caused him deep personality alterations. Ted, little by little, starts to be a crucial figure inside the house, not only weaving a strong connection with Vanetia, but also with her lonely son, Lenny, who entered in a complicated process of self-discovery (perhaps an avoidable subplot). The ability here was not to rush things, but let them flow with sensibility and plainness. What I liked in Green’s approach was that the film never stepped into overused melodramatic scenes, choosing to look at the problems in a positive and non-manipulative way. The pleasant score fitted well in the mood intended, while in the visual aspect “Run and Jump” was able to pull out vivid colors from the lively, luminous frames. Peak was very believable in her performance, while Forte, after a great participation in “Nebraska”, demonstrates his adaptability.

Our Sunhi (2013)

Directed by: Hong Sang-soo
Country: South Korea

Movie Review: “Our Sunhi” is probably the weakest film directed by prolific Korean director Hong Sang-soo in the last few years. The film is almost an extension of his previous studies “The Day He Arrives” and particularly “Nobody’s Daughter Haewon”, where people related to cinema roam through the city having several encounters with acquaintances, fortuitous or not, and exposing their state of mind. Film student Sunhi, always running to go somewhere or hiding from something, shows to be confused about what she really wants in life, including her affective relationships. She asks her former teacher for a reference letter in order to study abroad, but wasn’t so pleased with the truthful statements in it. Nevertheless, a kind of flirtation arises between them and a more 'suitable' letter will come up later. Meantime, she accidentally meets with her ex-boyfriend Munsu who is still in love with her, and gives hope to Jae-hak, a married friend who always had a crush on her. All three men happen to know each other and the story, as you can imagine, won’t end in the way she probably wanted to. The approach relies on the usual simplistic style adopted by Sang-soo: natural and long dialogues, while drinking in pubs or restaurants, and repeated situations in different circumstances or presences. Only this time, the story was not so catchy and drags itself slowly towards a totally predictable ending, failing to surprise. Furthermore, I must confess I’m not a fan of some unexpected and nonsensical camera zooms, so evident in "Our Sunhi", a minor work from a respectable director.

The Counselor (2013)

Directed by: Ridley Scott
Country: USA / UK

Movie Review: Written by the imaginative novelist/screenwriter Cormac McCarthy (“The Road”, “No Country For Old Men”), and exhibiting a cast beyond suspicion that includes Fassbender, Bardem, Cruz, Diaz, and Pitt, “The Counselor” was victim of its narrative traps and a plot in which its disperse parts aren’t always put together with clarity. The film was directed and produced by Ridley Scott who, for now, abandoned the spatial adventures he got famous for (“Blade Runner, “Alien”, “Prometheus), to embark in a story with the greed as central focus. Once the story involves Mexican drug cartels and nebulous schemes, we inevitably must add sex, drugs, and some violence to it. The results are not really memorable but I must confess that other similar movies in the same genre had less impact on me, case of Oliver Stone’s “Savages”. While Fassbender was solid in the role of a man known as ‘Counselor’ who asks for everybody’s counseling after fall in disgrace, the rest of the cast had acceptable performances, with Diaz being the weakest as libertine, greedy villain, but providing the most unforgettable scene of the movie, when she rubs herself in a Ferrari’s sunroof, leaving her extravagant husband (Bardem) in a state of shock. Although stereotyped in almost every aspect, “The Counselor” managed to create good moments of darkness, being talkative and protracted in one side, and super-violent and vigorous in the other. After a careful analysis, the balance is positive, but just don’t expect many surprises here.

Wakolda (2013)

Directed by: Lucía Puenzo
Country: Argentina / others

Movie Review: Better known for her 2007 auspicious debut “XXY”, Lucia Puenzo, embarks this time in an almost anticlimactic thriller set in a remote place in Patagonia, Argentina, where Dr. Josef Mengele, a Nazi fugitive, seeks guinea pigs within a family in order to develop his genetic theories and experiences. The story was based on her own book with the same name, and starts with a fortuitous encounter between Mengele (Alex Brendemuhl) and 12-year-old Lilith (Florencia Bado) who arouse his curiosity due to a poor body development and growth for her age. Right away, Mengele introduces himself to her parents and becomes the couple’s first guest in their renovated family inn. This tale of obsession and cruelty advances in a slow pace and reserved ambiance, and despite some tension around, it was never effectively applied to take our breath away. Although production values are competent, I got the sensation that this tale could have been told differently, in much less time, and surrounded in a more appropriate thrilling mood. The name Wakolda refers to Lilith’s favorite doll, which her father wanted to rebuild with a mechanical heart, turning it unique. Mengerle becomes interested and offers himself to invest in a mass production where each doll will be perfect and equal, in a subplot that worked as a too obvious symbolism to please or surprise us. The film received nine awards of Argentinean academy, including best direction, actor, and new actress.

Kuma (2012)

Directed by: Umut Dag
Country: Austria

Movie Review: “Kuma” showcases the life of a firmly integrated Turkish family, where marriage, love, and motherhood, end up in false hopes, disagreement, and deception. The story begins with the wedding of Ayse (Begum Akkaya), a meek 19-year-old country girl, and Hasan, who lives in Vienna with his family. The uncomfortable atmosphere surrounding the wedding, especially among Hasan’s sisters, lets us foreseen that something is wrong. In fact, Ayse is on her way to Austria to be the second wife of Hasan’s father, in a scheme arranged by Fatma (Nihal Koldas), family’s matriarch who was diagnosed with cancer and wanted a substitute to take care of her husband and children. When her death was expected at any moment, the plot gives a big turn in multiple fronts, striking us with its shocking effects. The film was superbly shot and keenly photographed, whereas the dashing direction by debutant filmmaker Umut Dag, gave excellent indications for the future. The notion of women’s duty is very present, as well as the bitterness of a society that opts to close the eyes to domestic violence or homosexuality, instead of facing it. The final half hour was very expressive in letting come out pain, shame, and constraint. “Kuma” revealed to be a beautiful, biting, and overwhelming film, with so much going on at the same time, yet organized and structured in a very compelling way. Actresses’ fantastic performances also deserve mention.

Circles (2013)

Directed by: Srdan Golubovic
Country: Serbia / others

Movie Review: Intelligently written and structured, “Circles” is one of the most valuable contemporary dramas coming from Balkans. The story starts to be told in 1993 Trebinje, Bosnia, hometown of soldier Marko Kovacevic who returns on leave from the front. After having breakfast with his dad, Ranko, he goes to visit his girlfriend, Nada, at work, and then meet with his medic friend, Nebosja. When he witnesses a Muslim shopkeeper, Haris, being savagely beaten up by three military companions, which includes Todor and Rekita, known for spreading confusion and fear on the city streets, he tries to cool them down, but this posture will cost him his life. Twelve years later, in a peaceful Germany, all the living characters mentioned above (or some of their relatives), will cross paths, having the opportunity to forgive or take revenge, depending on the case. The film was set up in a captivating way, employing discernment to put in confrontation the good vs. evil, and showing a complexity of feelings and emotions, that was strong enough to make us conscious and alert. Also visually absorbing, the film counted with an appreciable cinematography and credible performances. Helmer Srdan Golubovic, who, in certain scenes, curiously opted for a moving camera instead of fixed shots, proves that the success achieved with “The Trap” in 2007, wasn’t just a coincidence. “Circles” is an illuminated film composed by small, interconnected stories, which, whether fair or unfair, whether immersed in light or in deep darkness, are indispensable lessons for life.

The Inevitable Defeat of Mister and Pete (2013)

Directed by: George Tillman Jr.
Country: USA

Movie Review: Set in a problematic neighborhood in Brooklyn, “The Inevitable Defeat of Mister and Pete” tells us the story of two youths who share the same familiar problems, which often lead them to look for food in dangerous streets populated by scumbags and police. The skinny, courageous, and sharp-mouth Mister (Skylan Brooks) is an angered 14 year-old kid with strong pretentions to become an actor, who lives in frequent verbal aggressions with his irresponsible and vicious mother. His younger Korean buddy, Pete (Ethan Dizon), an abused, quiet, and loyal kid whose addicted mother was also busted, constantly follows him everywhere. These kids’ lives seemed too complicated to be depicted as a mere street adventure. Despite of some solid content evinced in this drama, the story wasn’t always able to convince me, and I truly believe that many aspects could have been improved here to better follow the good performances of the young actors. The score by Alicia Keys and Mark Isham, withdrew the rawness that would have been favorable in several moments, softening up some scenes where anger and frustration should reign. I presume that filmmaker George Tillman Jr. (“Soul Food”, “Notorious”, “Men of Honor”) had a large share of responsibility for this story hasn’t come out sufficiently consistent in its execution. Although the pace isn’t bad at all, it grows uneven towards a hopeful end that only enhances its feebleness.

In Bloom (2013)

Directed by: Nana Ekvtimishvili, Simon Gross
Country: Georgia / others

Movie Review: “In Bloom” is a very particular coming-of-age drama, co-directed by Georgian Nana Ekvtimishvili (who wrote the screenplay partially based on personal memories) and German filmmaker Simon Gross, in their second collaboration after 2007 “Fata Morgana”, though in other molds. The story is set in Georgia’s capital, Tbilisi, in the early 90’s, right after the new born country has been freed from Soviet dominion. The war is still present through Abkhazia conflict, making the population to rush and quarrel to buy the daily bread. Apart from all these aspects, 14 year-old Eka and Natia, live other type of ‘war’, dealing with family problems and trying to fit in a society completely dominated by men. Despite the unshakeable friendship, their different personalities and very own way of thinking, will take them to distinct life experiences. The cinematography along with the performances by the two non-professional young actors, Lika Babluani and Mariam Bokeria, were simply formidable. However, and despite worthy, the film was not totally satisfying. While some scenes were unforgettable (Eka’s dance, or the disordered line to buy bread), others seemed slightly contrived, especially in its last part, where the strength demonstrated till there, started to decline. Eka’s feminist nature has so much to be appreciated that we keep following her no matter what. Even considering its powerful political, social, and cultural messages, it was through the performances that “In Bloom” surprised me.

Young Detective Dee: Rise of the Sea Dragon (2013)

Directed by: Tsui Hark
Country: China

Movie Review: Tsui Hark’s new film, featuring detective Dee Renjie and his first mystery case, is another magnanimous production that revealed to be a major disappointment when compared to the engrossing “Detective Dee: Mystery of the Phantom Flame”, both in visuals and screenwriting. Obviously I was expecting something colorful, sensationalist, and cartoonish, but this time Hark’s overconfidence ruined everything by leaving substance behind, in what we can call a gaudy fantasy stuffed with digital manipulations, overdone fight choreography, and supernatural enigmas. Probably Korean “The Host” served as inspiration for its boring scenes, since the shrewd detective, performed by Mark Chao, involves himself in a battle against a gigantic sea dragon in order to solve a mysterious conspiracy against Imperial kingdom. Sadly, there’s nothing new or smart in this plot and the beautiful, enchanting atmosphere noticeable in the mentioned sequel from 2010, vanished completely here. I got bored even before its first half, so I don’t have to explain how interminable the film seemed to me. “Young Detective Dee” was too overcooked and action-packed in a fastidious way, becoming instantly forgettable. I guess it will only be suitable for those who are not demanding with what they chose to watch as entertainment, or are looking for some impact through its bumbling images.

Jack Ryan: Shadow Recruit (2014)

Directed by: Kenneth Branagh
Country: USA / Russia

Movie Review: Kenneth Branagh’s “Jack Ryan: Shadow Recruit” is an action film co-written by experienced writer/director David Koepp (“Ghost Town”, “Premium Rush”) and debutant Adam Cozad, based on the character created by Tom Clancy and featured in other films such as “The Hunt for Red October” and “Patriot Games”. This new adventure stars Chris Pine as secret agent Ryan, the always-charming Keira Knightley as his supportive girlfriend, Kevin Costner as a high-ranking CIA agent, and Branagh as the Russian villain Cheverin. A Russian conspiracy against US will bring agent Jack Ryan back in action, after recovering from a terrible helicopter accident in Afghanistan. His ability to decipher complex patterns and whereabouts will take him to a dangerous trip to Moscow where, against all the CIA rules, his beloved Cathy will join him in another impossible mission. I expected much more from this story set up in automatic mode by Branagh, where we can easily guess every outcome. The direction stepped widely in common ground, obeying to the traditional action standards of Hollywood and never bringing enough thrill or surprise to the already stereotyped story. The widely known car chasings occupied great part of the final action scenes, turning them into monotonous repetitions of thousand other similar scenes already seen before. In the dance of contemporary secret agents, which includes Jack Reacher and Jason Bourne, I would say that Jack Ryan is the less competent.

Silence (2012)

Directed by: Pat Collins
Country: Ireland / Germany

Movie Review: Structured like a docudrama, “Silence” is a vague and occasionally haunting exercise on sound and childhood memories. Documentarian Pat Collins makes here an enigmatic transition into fiction to tell the subliminal experiences of Eoghan, a sound recordist now living in Germany, who goes back to its origins in Ireland, 15 years after his departing. With the single purpose to find and record places completely forgot by men, Eoghan has a few casual encounters and meaningful conversations with strangers who, deep down inside are just like him, solitary souls populating desolated landscapes. Ponderous, philosophical, visually and auditorily absorbing, “Silence”, might seem narrow in terms of plot for many viewers, but can stir some emotions and provoke our minds somehow. Sometimes it makes us fall in the nostalgic torpor of the mountain field’s tranquility, just to overwhelm us again with the sepia tones of an old video recording of a fishermen’s boat and a dog’s drowning in the sea, or the visit to a local museum that keeps record of documents and photographs of families that had to abandon their island, or a young man who brings to Eoghan’s mind the dilemmas of leaving home. After “Berberian Sound Studio” has used the factor sound in a completely different way, now is the time of “Silence” emerge with a much more deep conception and approach. Do we have a new trend on modern independent film? I don’t think so, but this one may offer something worthwhile if you have sufficient patience for its quietness.

Viva La Libertà (2013)

Directed by: Roberto Andó
Country: Italy

Movie Review: “Viva La Libertà” is a political dramedy directed with passion by Roberto Andó, based on his own novel. The film depicts the atypical story of Enrico Oliveri, the secretary of the main Italian opposition party, who after a depressive crisis, decides to avoid responsibilities, abandoning his tiresome life and traveling to Paris where he will be received by an actress friend and former lover, Danielle, now married with a famous filmmaker. His absence will cause the chaos inside the party, which isn’t seen as a good alternative to the actual government, according to the latest opinion polls. That’s when an assistant who operates behind the scenes, Andrea Bottini, with the approval of Enrico’s wife, comes with the only possible solution: to occupy the vacant post with Enrico’s twin brother Giovani Ernani, a creative philosopher who suffers from bipolar depression. With the twins extremely well adapted to their new lives, a bunch of risky, funny, and occasionally improbable situations will take place. As usual, Toni Servillo has a superb performance, being impressive in the way he gives shape to the two twins – Enrico, more pensive and sufferer, while Giovani was more seductive and spirited. Even if the script is difficult to believe in its whole, “Viva La Libertà” put on the screen the expressive and ironic elements so characteristic of Italian cinema, whereas madness, dance, passionate romance, and fervent speeches, kept the film well alive.