Roma (2018)

Directed by Alfonso Cuarón
Country: Mexico / USA

Versatility and competence are two valuable attributes of Mexican writer/director Alfonso Cuarón, demonstrated in peculiar works like Y Tu Mama Tambien (2001), Children of Men (2006), and Gravity (2013). Yet, none of the above delivered so much personal intimacy and cinematic maturity as Roma, a flawlessly shot drama based on his childhood memories when he was living in Mexico City’s Colonia Roma neighborhood in the early 1970s.

The story focuses on Cleo (Yalitza Aparicio), a humble Mixtec maid working for a middle-class family nearly shattered by the absence of its patriarch, Antonio (Fernando Grediaga), a respected doctor. At the moment that this man decided to abandon the household, his wife Sofia (Marina de Tavira) takes the responsibility of raising four children with the priceless help of Cleo, who also shares other domestic duties with her co-worker Adela (Nancy García García).

The camera captures the routines and dynamics of the family through glorious black-and-white frames polished to compositional precision. The extraordinary cinematography is credited to the director himself, who also co-produced and co-edited. Concurrently, we follow Cleo’s personal problems with her boyfriend, Fermin (Jorge Antonio Guerrero), an immature thug from the slums and martial arts practitioner, who dumps her ruthlessly in the same minute she informs him about a possible pregnancy.

Taken by frustration and disappointment, the two vulnerable women lean on each other, forging a moving companionship where there is no place for social class stratification. All the guilt, trauma, and pain are attenuated by the love and warmth within the family, regardless of the difficulties that might exist. Sofia and Cleo are brave women, whom Cuarón wanted to thank and honor. And he did it marvelously.

The simple and realistic storytelling discloses individual complexities that made me care for these characters with all my soul. The touching finale is one of the most powerful scenes of a deeply humane film where hope triumphs in times of adversity.

While the performances are immaculately genuine, Cuarón’s unparalleled direction convinced me in every aspect since he never loses focus with trivialities. Every scene is there for a purpose, not by chance. Despite the evocation of another time, connections with the current state of the world can also be established in Roma, an illuminated tale of gratitude and one of the most gratifying experiences I’ve had this year in a theater.

Colette (2018)

Directed by Wash Westmoreland
Country: UK / USA

Colette is an insipid, occasionally colorful biographical drama about the gifted French novelist Sidonie-Gabrielle Colette, here impersonated by the ever-charming English actress Keira Knightley, whose penchant for period dramas is mirrored in Pride & Prejudice (2005), Atonement (2007) and Anna Karenina (2012). The script, co-written by director Wash Westmoreland (Still Alice, 2014) and his late husband Richard Glatzer, focuses initially on the author’s early years spent in her Burgundy’s rural hometown and then mostly in Paris in 1893, where she moves with her unfaithful, talent-thief Parisian husband, Willy (Dominic West), who pursues success in literature at any cost.

In a society dominated by men, Willy takes all the credit for his wife’s clever writing without sketching a single line. His first book, Claudine a Paris, is a massive success, but as a vainglorious and greedy literary entrepreneur, he wants more and doesn’t intend to stop there. In a rush to meet publishing deadlines, he abusively locks his wife in a room to force her writing a new novel. However, and for his uneasiness, Colette is not the submissive type, rebelling against her husband and the system, and venturing in lesbian affairs with the ardent American socialite Georgie Raoul-Duval (Eleanor Tomlinson) and the perspicacious boyish Missy (Denise Gough). The sudden revelation that Georgie also shares her bed with Willy becomes Colette’s inspirational source for her next literary success: Claudine en Ménage.

Despite some admirable period details, the interesting moments come and go in a perpetual intermittence, becoming increasingly scarce when the story reaches its final part. The director was unable to overcome the pallid storytelling, which could easily be turned into avant-garde eccentricity if he had had a bit more audacity. The competent cast could do nothing to help him in this department.

The film shares its art-theft topic with another recent drama film, The Wife, whose more attractive course of events was elevated by the splendid return of Glenn Close to a first-class role.

A lot was left behind in this depthless account of a disaffected ghostwriter who wanted to affirm her artistic gift, freely and publicly. She actually did it with bravery and conviction, but this film doesn’t do her justice. Hence, my suggestion is: save your ticket money and read Colette’s biography instead.

Tyrel (2018)

Directed by Sebastian Silva
Country: USA

Tyrel is a totally missed shot by Chilean director Sebastián Silva, whose past releases alternate between the delightful (The Maid; Crystal Fairy) and the mediocre (Magic Magic; Nasty Baby).

We’re living complicated times where racial tensions keep escalating and symptoms of fear, anxiety, and violence are visibly abundant. Aware of all this, Silva wrote a plot that is conceptually logic and unequivocal, a sort of counterpoint to Jordan Peele’s Get Out that would likely lure more adepts if less diffuse in the message and more consistent in tone.

Jason Mitchell is Tyler, an African American young man who willingly joins his good friend John (Christopher Abbott) in an all-men weekend party in the Catskill Mountains. This opportunity will give him a break from certain family problems that have been bothering him lately.

The house where they’re going to stay, owned by John’s Argentine friend Nico (Nicolas Arze), suddenly becomes jammed with a bunch of peculiar white dudes he doesn’t know. While some of the guys are nice, like Alan (Michael Cera) or Max (executive producer Max Borne), others are somewhat provocative in their behavior, cases of Peter (Caleb Landry Jones) and Dylan (Faith No More keyboardist Roddy Bottum). Frivolous conversation leads to silly games; alcohol leads to weed; everything starts rolling at a fast pace. Despite of a Trump doll hang in the living room and ready to be wrecked by torture, Tyrel becomes notably uncomfortable for being the only black person in the house.

The first night was tense, yet pacific; the second, maddening wild; both were prosaically banal. In our heads, we portray all those guys as racists and sadistic bastards ready to devour Tyler just for their own amusement. But nothing ever really happens and we feel somewhat betrayed by the pointless situations created. This sense of futility and deception was magnified from the moment I noticed that, after all, movie title and main character don’t share the same name - former is Tyrel, latter is Tyler.

With our alcohol-drenched hero programmed to act in paranoia mode, the film takes us to a neighboring house, where Silvia (Ann Dowd), her saxophonist husband (Reg E. Cathey), and their kid meet an afflicted Tyler. Are they the friendly type?

There is probably more religious turmoil here than actually racial, and the story progresses with a nonsensical self-contentment without delivering a single thrill. It doesn’t take us too long to understand Silva’s idea, in the same manner that we realize that the aimless script is populated with under-written characters. Tyrel breaks at the weight of its own ambition, feeling like an undergraduate exercise in tension. Sadly, even that tension is wasted.

The Guilty (2018)

Directed by Gustav Moller
Country: Denmark

Alfred Hitchcock’s Rear Window and Sidney Lumet’s 12 Angry Men are two triumphant films shot in one single room. Probably drawing some inspiration from the cited classics, Swedish-born director Gustav Moller keeps things tense and intense in his debut feature The Guilty, an engrossing Danish suspenser that never leaves the building where the story takes place.

Police officer Asger Holm (Jakob Cedergren, better known for Submarino and Terribly Happy) is reluctantly on duty in an emergency call center of the Copenhagen’s police department after being demoted from his usual obligations: street patrol. The reason for that is kept secret at first, but has to do with an incident under investigation. Not very popular among his colleagues, he feels extremely bored and behaves impatiently with the ceaseless phone calls he gets, most of them unimportant and with no consequence. A man that was mugged by a woman in his own car; another man who took speed and is likely hallucinating; a woman who fell from her bike and wants an ambulance for a minimal wound in her knee; and a woman journalist who wants to give him a chance to defend himself regarding the court case brought against him, are just some examples of how frustrating the job can be.

Nonetheless, when he gets a desperate call from a young mother calling for help, Asger suddenly becomes active and alert. The woman, Ibsen (voice by Jessica Dinnage), was apparently kidnapped by her violent ex-husband Michael, a former convict, leaving two minor children alone at home: Mathilde, six, and Oliver, who is still a baby.

From a distance, and slightly stepping the line that separates duty from emotion, Asger attempts to save the woman and hold her children in safety. While doing it, he does a self-conscious examination and even opens up about a certain conduct he is not proud of. Hence, this complex case, where nothing ends up being what it seems, is addressed by the officer in question as an opportunity for redemption.

With so little, Moller extracted the most of a story he co-wrote with Emil Nygaard Albertsen, also on account of Cedergren’s flawless performance and some clever warps in the script. Sharp close-ups meticulously capture the facial details, behavioral reactions, and moments of irritation due to bureaucratic procedures or vain superior orders. All the rest is left to our imagination.

Madeline's Madeline (2018)

Directed by Josephine Decker
Country: USA

Set in New York, Madeline’s Madeline is a riveting indie drama, glamorously handled by director Josephine Decker and superiorly acted by Molly Parker (Trigger), Miranda July (Me and You and Everyone We Know; The Future), and the gifted newcomer Helena Howard.

The film dives into the very personal world of 16-year-old Madeline (Howard), a medicated mulatto who finds an escape to the turmoils of her mind in the experimental theater. Madeline has a thorny relationship with her super protective, slightly paranoid, and emotionally unstable single mother, Regina (July). Her dreams and problems at home are frequently shared with the theater troupe’s director, Evangeline (Parker), whom she entirely trusts. At least, until Madeline realizes that the play they were working on was entirely about her own life experiences.

Combusting with a sharp focus on character, the film fiercely aims to the senses, bringing off a powerful effect through the combination of Ashley Connor’s camerawork, whose dynamic lens often gets out of focus and captures slow-mo sequences, and Caroline Shaw’s pertinent score. It provides a sort of surreal, ritualistic experience where suspense abounds.

In addition to the dreamlike tones created, which feel intriguing and disorienting, there is a furious earthly side well rooted in reality. The scene where Madeline is caught by surprise with the unexpected arrival of Regina when she was watching porn with neighbor friends or the one that illustrates physical aggression from daughter to mother are simply breathless and packed with emotional upheaval.

Madeline’s Madeline is likely the most gratifying indie movie of 2018. I definitely urge you to check it out.

Lizzie (2018)

Directed by Craig William Macneill
Country: USA

Craig William Macneill’s underpowered Lizzie offers a tedious perspective of the 1892 true-crime story set in Fall Rivers, Massachusetts, in which Lizzie Borden, here impersonated by the capable Chloe Sevigny, was temporarily arrested and tried for the murder of her father and stepmother. 125 years have passed and the case, publicly known as 'the axe murders', remains a mystery. However, any curiosity related to the macabre occurrence remains shallow throughout this dispassionate and often formulaic reconstruction of the events.

Bryce Kass’ script pictures Lizzie with a likable frontal personality, resisting as much as she can to the austerity and conservatism of her wealthy father, Andrew (Jamey Sheridan). Socially and intellectually repressed, Lizzie, who is also impelled to fight an avid uncle (Denis O'Hare) in order to protect her inheritance, engenders an evil plan in the company of a newly arrived housemaid, Bridget Sullivan (Kristen Stewart), with whom she lives a lesbian relationship.

There’s nothing particularly surprising or even appealing in this fictional account, where the flame of forbidden love is extinguished almost before it starts through an underlying static quality of the characters’ actions. This obstacle also narrowed any possibility of thrills.

Moreover, if Sevigny’s performance keeps us hoping for better, Stewart is maladjusted and never truly convinces in her role. With such a potential story in hands, Macneill had everything to create greater suspenseful moments with a stronger impact if he hadn’t a heavy hand. A thriller that is never unsettling soon becomes a triviality. And that’s exactly what Lizzie is.

We The Animals (2018)

Directed by Jeremiah Zagar
Country: USA

Based on the semi-autobiographical novel of the same name by Justin Torres, We The Animals is a thoughtful coming-of-age drama that won’t leave you indifferent.

Having the rural upstate New York as a backdrop, the story is told from the perspective of 10-year-old Jonah (Evan Rosado), the youngest of three brothers who become victims of the volatile relationship of their parents, a white mother (Sheila Vand) and a Puerto Rican father (Raúl Castillo), who move apart several times after episodes of domestic violence. Growing up with hunger - a distinguished scene depicts them feeding themselves with soy sauce - and lack of supervision, these kids spend most of their time in the streets, especially whenever the tense atmosphere in the household deteriorates.

However, Jonah reveals a quite different posture when compared to his brothers. He is far more sensitive and truly cares about his mother, who easily and repeatedly plunges into depression, a predicament that forces her to stay in bed and stop working. The most precious thing for the boy is a journal he conceals under the mattress. He scribbles it, expressing fragments of his quotidian life and emotional states through artistic drawings that often gain movement in his imagination and on the screen.

Mounted with arresting visuals and dream-like tones by documentarian Jeremiah Zagar, We The Animals is a strong personal statement sustained by an absorbing narrative. This most satisfying rendering of a complex family environment and self-discovery carries a desolate beauty of its own that haunts us all.

The Hate U Give (2018)

Directed by George Tillman Jr.
Country: USA

There’s a bunch of fictional films released this year, not to mention documentaries, with a focus on racial prejudice and related injustices in America. BlacKkKlansman, Sorry To Bother You, and Blindspotting are just a few examples of a big list now expanded with The Hate U Give, the new drama by African American director George Tillman Jr. (Notorious, The Inevitable Defeat of Mister & Pete).

Based on Angie Thomas’ novel of the same name and scripted by Audrey Wells, the focal point concentrates on Starr Carter (Amandla Stenberg), a 16-year-old black student from the problematic Garden Heights neighborhood, who witnesses her longtime friend Khalil (Algee Smith) being shot dead next to his car, after has been pulled over by a nervous young white cop.

When she was nine, her father, Maverick (Russell Hornsby), who just like every black man in that neighborhood had problems with the justice, gave her a very first lesson about how to behave in the case of a police officer tells her to pull the car over. The altercations with the King Lords, the gang that controls the neighborhood, starts when Starr mentions them on a TV interview arranged by lawyer/activist April Ofrah (Issa Rae). The latter encourages her to speak up with her own voice and denounce publicly the case.

Starr comes to the conclusion that discrimination exists even among her own people. And it's her uncle Carlos (rapper Common), a police officer, who reveals it.

Not everything clashes between black and white people and that’s a positive factor here. Starr has a courageous white boyfriend, Chris (KJ Apa), who loves her with all his heart to the point of giving the first step to meet her belligerent father. On the other hand, her best friend Hailey (Sabrina Carpenter), also white, starts acting in a provocative way after the traumatic episode. Incidentally, the scene that captures a quarrel between the two feels catastrophically artificial.

Besides didactic, the film carries the expected passion, objection, and anger to transform itself in something dramatically appealing. However, clichés in the storytelling as well as in the visual dynamics are a reality, while the surprises are few.

Widows (2018)

Directed by Steve McQueen
Country: USA

Widows, a tale of love and crime based on the 1983 British TV series of the same name, is undeniably the most commercial work by celebrated director Steve McQueen. By no means, this heist film is at the same level as his masterpieces Hunger, Shame, and 12 Years A Slave. However, he found intelligent ways to raise tension and let the nervousness of the unbreakable female characters penetrate our bodies.

When their criminal husbands get killed in the aftermath of an incompetent robbery in Chicago, three women - the self-assertive Veronica Rawlins (Viola Davis), clothing store owner Linda Perelli (Michelle Rodriguez), and newly escort Alice Gunner (Elizabeth Debicki at her very best) - are in imminent danger.

Having nothing in common apart from a life ruined by debt, they decide to join forces and steal five million grand to save their asses from incurring in further complications. The plan is not a product of their imagination, though. All the details were written in a notebook left by Veronica’s sly husband, Harris (Liam Neeson). The latter had stolen one million from Jamal Manning (Brian Tyree Henry), a crime boss turned politician, who now wants to be paid by Veronica. He is running for alderman against Jack Mulligan (Colin Farrell), also a powerful politician who’s trying to get things his own way, despite the disapproval of his authoritarian father, Tom (Robert Duvall).

Aware of the necessity of a driver to carry out the plan accordingly, they add a fourth element to the team: beautician and part-time babysitter Belle (Cynthia Erivo). Even with a few unanticipated setbacks, the heist is consummated, but tranquility is still not guaranteed since villainous connections and pernicious schemes are disclosed in the final section.

Having the stellar cast putting his creative ideas into effect, Steve McQueen exalts feminine prowess in a story filled with political corruption, criminal violence, adultery, and tainted relationships. The well-founded script came from Gone Girl writer Gillian Flynn.

Deftly mounted to please the crowds in obvious ways, Widows benefits from the organized structure of its storytelling and the ability to never slackening in tension or emotion. Although operating in a Hollywood-esque mode, McQueen offers the viewers consistent payoffs.

The Wife (2018)

Directed by Bjorn Runge
Country: Sweden / UK / other

Bjorn Runge’s The Wife is a mature, if reserved drama that evolves at a steady pace without that dramatic punch that would make it memorable. Jane Anderson (It Could Happen To You) wrote it based on the 2003 novel of the same name by Meg Wolitzer, in a fair attempt to describe a few acerbic days in the life of an American couple shaded by a public lie and a mix of sacrifice, ego, and surreptitious resentment.

Joan Archer (Glenn Close) is a gifted writer discouraged by the prejudice of the editors against women. She has been dedicating all her life to her husband and former teacher, Joe Castleman (Jonathan Pryce), whose success depends exclusively on her skills. John is informed by phone that he is the new Nobel Prize in Literature. While he celebrates effusively like a child, she acts far more reserved and slightly distant, seeming a bit disturbed with the communication.

Through flashbacks, we learn the shocking truth. She was, in fact, the true author of all his novels. The narcissistic Joe becomes overwhelmed with the success, whereas Joan, devastated inside, tries to deal with the unbearable pain of living in the shadow for so many years. The couple heads to Stockholm, where the Nobel Prize ceremony takes place, accompanied by their son David (Max Irons), who also aspires to be a writer.

Once there, things quickly become a nightmare with Joe flirting with a young photographer, and Joan being troubled by Nathaniel Bone (Christian Slater), an impertinent biographer who suspects she is the real talent of the household.

Despite the potentiality, this embittered love tale and domestic drama film never exploded because neither of its characters exploded when they needed and were supposed to. In a number of times, I wished the story were tempered with a bit more sarcasm. Showing some tackiness in the maneuvers, the Swedish director only gets the film flowing because of the mesmeric leading performances. Ms. Close, in particular, a six-time Academy Award-nominated actress, is irreproachable in the role of an emotionally hurt giver who refuses to play the supportive wife any longer. It is thanks to her that The Wife remains fairly acceptable.

The Ballad Of Buster Scruggs (2018)

Directed by Joel and Ethan Coen
Country: USA

Taking short rides into the Wild West, the Coen brothers deliver six fabulous vignettes, equally rich in laughs, action, drama, and surrealism. All this is squeezed into their latest feature The Ballad of Buster Scruggs, which portrays on the screen the sagas they keep reading in an old book. Entertaining me for more than two hours, the brothers fabricate unbelievable clashes between settlers and desperadoes in a stylistic intersection between Quentin Tarantino and John Ford.

Most of the stories have unhappy endings, including the first one and my favorite, The Ballad of Buster Scruggs, which features a grinning Tim Blake Nelson as a skilled pistolero, bragger, and country singer, literally turned into an angel by the ultra-fast The Kid (Willie Watson), who had recognized him as the most wanted man in the West.

The second story, Near Algodones, presents James Franco as a sly bandit who decides to rob a bank in the middle of a depopulated prairie. The plan goes wrong because the talkative bank teller (Stephen Root) was bold and surprisingly aggressive.

The saddest story is Meal Ticket, which broke my heart into pieces. It unfolds the appalling fate of Harrison (Harry Melling), a young declaimer with no arms and no legs, whose impresario (Liam Neeson) replaces him with a hen that does the math. It’s all about greed and contempt for human life.

The following story, All Gold Canyon, is a pleasure to the eyes. An old prospector (a qualified Tom Waits) digs the soil for gold, finding his gratuity after a lot of work. However, an unscrupulous young cowboy (Sam Dillon) had sneakily followed him, waiting for the right moment to exterminate him and take the prize. Without disclosing more of this adaptation from Jack London’s short story of the same name, I must say you'll likely be smiling by the end.

The Gal Who Gets Rattled, an adaptation of the short story by Stewart Edward Wright, tackles romance between an Episcopalian young heiress, Alice Longabaugh (Zoe Kazan), and a Methodist wagon train leader, Billy Knapp (Bill Heck), who helps her to overcome a financial imbroglio. By the end, there are furious Indian attacks and some spectacular images.

The sixth and last story of the collection, The Mortal Remains, is the most ambiguous as it carries a sort of supernatural predisposition that didn’t work so well for me.

This is cinema peppered with generally convincing acting and the superior visual sensibility of French cinematographer Bruno Delbonnel, who had already worked with the Coens in Inside Llewyn Davis. It is original, brainy, and funny.

Zama (2018)

Directed by Lucrecia Martel
Country: Argentina / other

Zama, a rugged yet rich period drama written and directed by Lucrecia Martel (The Holy Girl; The Headless Woman), offers you a smart, classy, sometimes philosophical storytelling that develops languorously. Its looks are eccentric and exotic, and there’s also a grim humor that makes it particularly attractive. Just out of curiosity, the long list of producers have included the names of Pedro Almodóvar, Gael Garcia Bernal and Danny Glover.

The film’s script, based on the novel of the same name by Argentine writer Antonio Di Benedetto, narrates the 18th-century misadventures of Diego de Zama (Daniel Giménez Cacho), a magistrate of the Spanish Crown stationed in a remote Paraguayan town, who patiently waits for his long-promised transfer to the city of Lerma in Argentina.

The first minutes of the film attempt to elucidate for the personality of the title character, a voluptuous voyeur who doesn’t miss the chance to embark on forbidden liaisons. With no recent news about his wife and kids, who kept waiting for him in Lerma, Zama, a man of the law and pacifier of Indians, despairs with boredom.

While flirting with the seductive Luciana Piñares de Luenga (Lola Dueñas), a married yet independent woman despised by women and misunderstood by men, Zama ensures to adhere to an exemplary conduct so that the Governor acquiesces in writing a letter to the King asking for his transfer. Morose and bureaucratic, the process becomes obstructed and his expectations frustrated when a confrontational magistrate assistant, Ventura Prieto (Juan Minujín), becomes a direct rival in more than one front.

The good times were clearly over for Zama, who falls in disgrace, becoming psychologically tormented due to the interminable waiting. Furthermore, just to complicate his miserable life, he crosses paths with Vicuña Porto (Matheus Nachtergaele), a terrifying bandit with an awful reputation, who everybody thought was dead.

Mrs. Luenga made sure to announce that there is no place for elegance in that town. As compensation, there’s plenty of elegance in Ms. Martel’s ways, which enchants with a blend of sophistication and abstraction in an unimaginable crossing between Claire Denis, Manoel de Oliveira, and John Boorman. If the musical score is perhaps too soft for the incidents, then the visuals are outstandingly feverish, magnified by the contribution of Portuguese cinematographer Rui Poças (Tabu; The Ornithologist).

Filled with situations that mirror the social and racial preconception of the time, this hypnotic tale of punishment and atrocious colonialism is an engrossing experience, likely to be turned into a cult film.

The Little Stranger (2018)

Directed by Lenny Abrahamson
Country: UK / Ireland / France

Esteemed director Lenny Abrahamson, the architect behind noteworthy films such as Garage, Frank, and Room, directed this gothic drama film from a script by Lucinda Coxon, based on the novel of the same name by Sarah Waters. Impeccably acted, the film boasts Ruth Wilson, Domhnall Gleeson, and Charlotte Rampling in its cast, but it's governed with an unstable hand, developing inconsistently in pace and intensity.

Carrying something bizarre without never really scare, the story follows a country doctor, Faraday (Gleeson), who returns to the manor where he had been with his mother, a former maid, during the 1919 Empire Day party. Still vivid in his memory are some bitter instants of that day, but now he’s visiting as a doctor to treat the young maid Betty (Liv Hill), clearly influenced by disturbing episodes observed on the premises that nobody can explain. Faraday solves Betty’s problem, having the aristocratic Caroline Ayres (Wilson) calling him a wizard. He also meets her brother Roderick (Will Poulter), the disfigured owner of the manor and a traumatized Royal Air Force veteran, as well as their mother, Mrs. Ayres (Rampling), who admits with airy tones that the house works on people.

Becoming a frequent presence in the house, Faraday, little by little, gets the fondness of the family members. On one hand, he offers to treat the psychologically fragile Roderick through an innovative process, on the other hand, he tries to conquer Caroline's heart, a laborious task. Soon, he detects a supernatural activity in the house, a virulent inhuman presence that Mrs. Ayres associates with the spirit of her deceased younger daughter, Suki.

I have to admit it was a bit shocking when Faraday’s intentions are disclosed. Yet, the reflexes of evil and struggle in the story were never sufficiently impactful to tantalize and satisfy. The romance and its wry twists provided us with the best moments of the film, whereas the ghost story remained sapless.

More inanimate than haunting, The Little Stranger is Abrahamson’s least interesting feature. Here, the ambiguity doesn’t work as a positive factor and not everyone will have the patience for a family tragedy that on several occasions felt apathetic and calculated. It should go down smoothly with fans of the genre, though.

Support The Girls (2018)

Directed by Andrew Bujalski
Country: USA

If American writer/director Andrew Bujalski had deserved my appreciation with the idiosyncratic comedy Computer Chess, then he destroyed a considerable portion of my belief in his style with Support The Girls, a misfire with some heart.

Regina Hall is Lisa Conroy, the committed, attentive, and super friendly general manager of Double Whammies, the 'sports bar with curves' ran by Cubby (James Le Gros), a thankless and erratic imbecile. The first rule to work in the bar was stipulated as ‘no drama’, but in the face of a series of difficulties, Lisa is about to burst into tears. In addition to the constant tension at work, where she does everything to protect the ‘girls’, her marital life is far from serene.

With an undernourished plot and inefficient storytelling, Bujalski ends up portraying a reality that is poor in fascination. The stakes of the premise simply aren’t enough to carry this story, thus, the best you will get is Hall’s genuine performance, and Bobo (Lea DeLaria), a quite curious character who should have had more time to shine. And as if things weren't short enough, the film ends with an uninspired, sappy tone that feels more overwrought than liberating.

Cold War (2018)

Directed by Pawel Pawlikowski
Country: Poland / France

Cold War, the new drama from the acclaimed Polish director Pawel Pawlikowski (My Summer of Love, Ida), sets a painfully moving story about two musicians in love, whose relationship is curbed by the austere post-war regime of a Stalinist Poland. Bearing the stamp of a classic, the film is tinged with shades of Truffaut and enjoyable musical moments that range from local folk to jazz. The script was loosely based on the director's parents and the time frame of its narrative spans 15 years.

In 1949, while auditioning for the national ensemble, Zula (Joanna Kulig) amazes Wiktor (Tomasz Kot), a talented pianist and musical director, not only with her pure voice but also with her natural beauty. They become secret lovers, engendering a plan to escape to France while in Berlin for a public performance. Wiktor actually makes his way to Paris, where he becomes a jazz musician and arranger, while the inflexible Zula deliberately misses the opportunity to join him and follow the dream.

They reunite briefly in Yugoslavia years later, and then in Paris, time when she was already a married woman - “It didn’t count” she explains, because it wasn't made official by the church. Despite the bliss of the encounter and the productive musical collaboration, the two lovers had changed with the time, especially Wiktor, who became an inexorable businessman. In turn, Zula gets more and more insecure about their relationship. She makes the decision of going back to Poland, where they met once again in 1964 in strange circumstances. He is punished with prison for having betrayed the nation, a situation that forces her to marry the despicable Lech Kaczmarek (Borys Szyc), the orchestra’s highly influential manager, who was always attracted to her.

Wrapped in deepest melancholy, Cold War has no idle or frivolous scenes since everything fits and flows under Pawlikowski's masterful direction. It is a simply told, beautifully composed piece of work in which the black-and-white cinematography by Lukasz Zal enhances the dramatic tones of a decadent and ultimately tragic romance. You will ask yourself if the mishap was created by personal choices or simply fate. It’s hard to judge, but I would say a bit of both.

Dogman (2018)

Directed by Matteo Garrone
Country: Italy

Matteo Garrone is a compelling Italian director who always brings an authentic ‘mafiosi’ flavor to his thoughtful films, exception made to Tale Of Tales, an incursion into fantasy/adventure, which deviates from his habitually native topics. His bleak, lowlife crime drama Dogman is an excellent addition to a worthy filmography that also includes Gomorrah and Reality.

Co-written by Garrone and his frequent collaborators Ugo Chiti and Massimo Gaudioso, the story has Marcello (Marcello Fonte) at its center, a gentle and patient dog groomer whom everyone in the neighborhood is fond of. However, by looking at his smiling face and maladroit expression, you wouldn’t say he hides a dark secret. Marcello sells cocaine on the side in order to support his beloved daughter Alida (Alida Baldari Calabria).

Despite the worries of his closest friends - bar owner Francesco (Francesco Acquaroli) and gold jewelry proprietor Franco (Adamo Dionisi) - regarding Simone (Edoardo Pesce), an unruly, violent, addictive former boxer who terrorizes the neighborhood, he still wants to be his friend. Even when forced to join the thug in robberies without being paid. This sort of fascination for an ungrateful criminal who constantly takes advantage of his fragile posture and good nature is the film’s most difficult part to cope with.

When Simone engenders a plan to rob Francesco’s gold from the inside of Dogman, Marcello’s store, the things change radically. The robbery is sloppily executed and Marcello is left in a very delicate position: he whether takes the responsibility for the infraction or denounces Simone to the police. The option of spending one year in prison for his ‘friend’ wasn’t surprising at all. Yet, it will make him tougher and resolute in his future decisions, which include demanding the respect of the beast he covered up.

Fonte gives a blistering central performance and is deservedly rewarded in Cannes, winning in the Best Actor category. Beautifully shot, this character study fascinates in an almost perverse way, building up adequate levels of tension throughout and bursting with disturbing scenes of violence. It is also a tale of solitude, equally tragic and funny, heavy and whimsical.

While the Italian cinema gives signs to come back to life, Dogman is a great choice if you’re sick of showy crime trifles that arrive from Hollywood on a regular basis.

Damsel (2018)

Directed by: David and Nathan Zellner
Country: USA

If the Zellner brothers did surprise me in a positive way with the humorous adventure depicted in “Kumiko, the Treasure Hunter”, then they sadly let me down with their newest story “Damsel”, a flimsy Western comedy with monotonous, thinly written characters, pointless dialogue, and unsatisfactory conclusions.

The film started with the right foot and set a lovely mood while capturing a long dialogue between Old Preacher (Robert Forster), a tired veteran of the West, and Parson Henry (co-director David Zellner), a drunkard who nurtures a sincere curiosity about Indians and needs a fresh start to make amends with his mysterious past. However, the film decays when the camera lens focuses on Simon Alabaster (Robert Pattinson - “Cosmopolis”, “The Lost City of Z”), a stranger in town awkwardly carrying a guitar and a rifle on his back and desperately looking for Henry. He convinces the latter to join him in a mission to rescue his pragmatic fiancé Penelope (Mia Wasikowska - “Stoker”, “Crimson Peak”, “Jane Eyre”) from the hands of Anton Cornell (Gabe Casdorph), her alleged kidnapper.

Even with a bizarre public hanging and some animated shootings, the action scenes felt insipid, while the humor didn't improve with the frequent presence of a miniature horse called Butterscotch - was this supposed to be funny? The Zellner’s unconfident pacing and boring narrative remain unchangeable, even when Anton’s disoriented younger brother Rufus (co-director Nathan Zellner) and the amiable Indian chief Zacharia (Joseph Billingiere) join the adventure.

On its own, the beautiful cinematography by Adam Stone (“Take Shelter”, “Midnight Special”) wasn’t enough for us to recommend "Damsel".

Thunder Road (2018)

Directed by Jim Cummings
Country: USA

One must give credit to Jim Cummings for the tremendous effort put in “Thunder Road”, a comedy-drama based on his 2016 short film of the same name. Cummings not only wrote and directed the film, but also starred as a grieving decorated cop who has a meltdown after his mother’s death.

Officer Jim Arnaud (Cummings) embarks on a long monologue at his mother’s funeral without completely transpiring the turmoil that his soul is enduring at that painful moment. He almost laughs and cries at the same time, performing a hilarious theatrical number in front of the attendees who remain seated, quiet, and shocked.

Jim should be off the following week. However, and despite visibly disturbed, he presents himself at work, patrolling the streets in the good company of his partner and best friend Nate (Nican Robinson). Known for his over-zealous posture at work and extreme dedication, he starts having trouble concentrating to act efficiently in the most diverse situations. But this is insignificant when compared with his messy life. His wife, Rosalind (Jocelyn DeBoer), is divorcing him, while his young daughter Krystal (Kendal Farr) acts bored and cold whenever she’s with him. He does everything to please her, even if he has to stay awake the whole night to learn the [adj] games she likes. Acting super-protective, we get to know he reached an uncontrolled emotional peak when he physically threatens Krystal’s teacher as he informs him about her bad behavior at school.

The last straw comes when he loses custody of his daughter due to the highly unorthodox behavior at the funeral, which became viral on the Internet. His humiliation continues when he is fired after a fight with his partner, who, according to him, should have seized the cell phone of the kid who shot the video.

More and more isolated, Jim seemed condemned to perish alone within his personal chaos if an unexpected accident wouldn’t have reconnected him with Krystal. As a consequence of that, he promises to be the best dad ever. In a delicate state, will he be able to succeed?

Pelted with tragicomic scenes, “Thunder Road”, an acceptably funny slice of comic drama, depicts anxious times by carrying a furious tone and bitter pathos. However, not everything shines here. Regardless of his capable acting skills, Cummings never touched me deeply, putting me out with his constant and invariable whining. I would have become more sympathetic to his disgrace if not slightly irritated with this periodic factor. Not good, not bad, just fair.

Sorry To Bother You (2018)

Directed by Boots Riley
Country: USA

The fanciful story of Cassius ‘Cash’ Green (Lakeith Stanfield - “Short Term 12”) depicted on “Sorry To Bother You”, the first feature film by Boots Riley, deserves some attention. Set in Oakland, California, this cute, scruffy, and flawed sci-fi comedy entertains throughout, from its inaugural scene - an ordinary interview for a telemarketing job - to its clumsy, surreal conclusion, which takes us to a totally different realm without unbinding the previous ideas. In between, you can witness the ascension and fall of Green, a broke yet ambitious African American telemarketer, who, talking with the teasing ‘white voice’ suggested by his experienced co-worker Langston (Danny Glover), attains the worry-free life he had always dreamt of. However, that prosperity is fed at expense of human exploitation and obscure businesses carried out by the company he works for.

Because of that, he left on bad terms with his artist girlfriend, Detroit (Tessa Thompson), and disconnected from his pals, Sal (Jermaine Fowler) and Squeeze (Steven Yeun), who are busy fighting the miserable work conditions through a labor union. Craftily manipulated by Steve Lift (Armie Hammer), the vicious CEO of the company, Green realizes he inhabits an insane world of transgression, iniquity, and debauchery.

Even if the deadpan humor doesn’t always triumph, there is some mordant social commentary expressed with a satirical posture, which sort of replaces it. Stanfield is a wonderful revelation, a crucial element for the film’s pulsation.

With “Sorry To Bother You”, Riley wants to alert people for something that goes beyond pure racism. He does in a showy, senseless, and ridiculous way, but this is all part of his strategy.

Burning (2018)

Directed by Lee Chang-dong
Country: South Korea

The films of Lee Chang-dong (“Peppermint Candy”, “Oasis”, “Poetry”), one of the most esteemed filmmakers from South Korea, are usually layered in a way that requires some patience from the viewer. If you are able to cope with slow developments and dive in Chang-dong’s detached, breezy flow that gradually shapes his characters, it is almost certain you’ll be rewarded in the end. And that’s exactly what you get in the peaceful “Burning”, a skilled cinematic adaptation of a short story by Japanese writer Haruki Murakami.

Lee Jong-su (Yoo Ah-in), a confessed adept of William Faulkner, aspires to write his first novel short time after earning a degree in creative writing. He lives in Paju, on the border with North Korea, where he grew up practically alone, taking care of the family’s farm. His mother left when he was still a kid because of the stubbornness and irascible character of his father, a war vet who was sent to prison for physical aggression to an officer.

One day, while working part-time in Seoul, Jong-su runs into Hae-mi (newcomer Jeon Jong-seo), a former neighbor and classmate who secretly had a crush on him. Before Hae-mi’s trip to Africa, they sleep together, also agreeing that Jong-su will come to Seoul to feed her cat while she’s away. In her apartment, he masturbates looking at her picture, but his hope of having her in his arms again becomes questionable with the arrival of Ben (Steven Yeun), a wealthy man whom he calls ‘Great Gatsby’. This vague, unprincipled man likes to break the rules and doesn’t recall of crying at any stage of his luxurious life. He lives to entertain himself and provide amusement to his upper-class friends through recurrent social gatherings that take place in his apartment.

Combining the unruffled, quotidian spell of Hou Hsiao Hsien’s dramas with the pertinent observation of Jia Zhangke’s contemporary themes, the film burns slowly until the moment when Hae-mi vanishes without a trace. It then gains momentum, moving confidently toward a surprising climax. The resplendent soundtrack, which includes a Miles Davis’ tune, and the naturalistic performances make a significant contribution to the success of this achingly poignant meditation on passion, in its strangest forms.