Killers of the Flower Moon (2023)

Direction: Martin Scorsese
Country: USA

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

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

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

Totem (2023)

Direction: Lila Aviléz
Country: Mexico 

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

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

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

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

Anatomy of a Fall (2023)

Direction: Justine Triet
Country: France

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

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

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

Kidnapped (2023)

Direction: Marco Bellocchio
Country: Italy

From Marco Bellocchio, the director of Fists in the Pocket (1965), Vincere (2009), and The Traitor (2019), comes Kidnapped, an exposé of a period in history when the Church wielded moral violence without responsibility or accountability to any authority.  In this film, Bellocchio, without exceptional brilliance but with the socio-political edge that characterizes his works, portrays the true story of Edgardo Mortara (Enea Sala), a six-year-old Jewish boy who was forcibly taken from his family by Pope Pius IX (Paolo Pierobon) after rumors of a secret baptism. The film is set in 1858, and Edgardo's parents, Momolo (Fausto Russo Alesi) and Marianna (Barbara Ronchi), wage an inglorious battle to reclaim him. Even with the scandal of several such abductions becoming public and Rome being liberated, it's difficult to erase a lifetime of brainwashing. 

There isn’t a moment that is not watchable but those moments could have added much more to the whole if better planned and executed. Despite needing a darker ambiance and more polished dialogue, the film is visually striking and well scored by the dramatic sounds of Fabio Massimo Capogrosso.

Kidnapped may require some patience from the audience as not offers a narrative that only dazzles intermittently. It’s a film centered on unanswered prayers, life-altering religious conversions, and soul-damaging submissions and humiliations, once again placing the Catholic Church at the center of criticism. Despite the formless ramble of its structure and the emotional distance that impairs some its scenes, the film tackles an interesting topic and features reasonably solid performances.

Flora and Son (2023)

Direction: John Carney
Country: Ireland 

Irish writer and director John Carney has a track record of successful music dramas in his filmography, with films like Once (2007) and Sing Street (2016). However, his latest effort, Flora and the Son, falls flat. It’s a crowd-pleaser that lazily resorts to cheesiness in an attempt to compensate for its plot limitations. The film suffers from an artificial quality, and the sickly sweet songs, while trying to tug at the heartstrings, contribute little to the overall substance.

The story revolves around Flora (Eve Hewson), an angry and frustrated single mother from Dublin who is struggling to find her way in life after separating from Ian (Jack Reynor), a once-successful musician whose career hit a roadblock when his band broke up. Flora’s delinquent teenage son, Max (Orén Kinlan), frequently challenges her, and seems condemned to spend time in a correction facility. However, Flora, who works as a babysitter, discovers the transformative power of music when she starts taking online guitar lessons with L.A.-based teacher Jeff (Joseph Gordon-Levitt). The latter reveals his own personal insecurities, but becomes the catalyst for Flora and her son to forge a bond that never had existed before. 

Carney seemed inclined to embrace the realism of directors like Ken Loach, but then gets too busy honey-coating musical sequences marred by cloying sentimentality. Sadly, they never fill you up. By failing to provide deeper dimension to his characters and their life struggles, Carney's film loses its appeal with each passing scene. Manipulative and superficially constructed to escape monotony, Flora and Son repeatedly hits the same uninspiring notes throughout its duration.

Fair Play (2023)

Direction: Chloe Domont
Country: USA

This erotic psychological thriller, directed by Chloe Dumont in her directorial feature debut, starts with a bang, has a tense middle part, but heavily stumbles in the final act. Written by the American director, Fair Play dissects a couple’s relationship that becomes toxic when Emily (Phoebe Dynevor) snags the coveted promotion that was expected to go to her colleague and secret fiancé, Luke (Alden Ehrenreich). Both of them work in a demanding Manhattan hedge fund led by Campbell (Eddie Marsan), the cold, insensitive, and sometimes ruthless CEO who treats them disparately. Seeing enormous potential in Emily, he completely snubs Luke.

The film delves into the limits of ambition, exploring psychological abuse and toxic masculinity within the backdrop of a gripping corporate setting. Although it can be a positive viewing experience for some, it grapples with several issues, particularly in the emotional department. The cynicism sometimes masks itself as profound revelation, and the storyline can feel somewhat familiar, eventually losing momentum in its final stretch. However, Dumont's timing remains sharp, and her portrayal of the tense corporate atmosphere is disturbingly convincing.

While the characters’ transgressions are intentional, cruel, and punishable, the story is sustained by the mechanics of rivalry, ambition, fragility, exclusion, and jealousy. Fair Play is a love story in much the same way that Kramer vs. Kramer is a comedy. It touches a nerve with topics such as abusive corporation treatment and sexual harassment. However, it falls short of realizing its full potential, with a conclusion that doesn't quite measure up to the rest of the narrative.

Rheingold (2023)

Direction: Fatih Akin
Country: Germany 

While German writer-director Fatih Akin’s early films, such as Head-On (2004) and The Edge of Heaven (2007), are compelling choices, Rheingold - a tale of immigration, violence, and music based on the biography of German rapper Xatar - falls short of the mark. The movie chronicles the journey of Giwar Hajabi (Emilio Sakraya), a young Kurdish-Iranian immigrant who turns to a life of crime and drug trafficking before gaining notoriety as a music artist while incarcerated. However, both the segments portraying the street gangster and the musician prisoner prove to be tedious and unengaging.

Spanning 30 years, the narrative initially sparks interest but gradually loses its grip by resorting to standardized routines often seen in gangster action dramas. Rheingold struggles to offer moments that feel particularly original or inspired. The film is marred by a messy structure, lackluster storytelling, choppy editing, and dull action sequences. Frankly not likable, it lacks the excitement needed to leave a lasting impression. 

In summary, this amalgamation of gangsta-rap and gangland themes is a soulless misfire from a director we know capable of delivering better.

Full River Red (2023)

Direction: Zhang Yimou
Country: China

Whenever Chinese helmer Zhang Yimou (Raise the Red Lantern, 1991; Hero, 2002; House of the Flying Daggers, 2004) releases a new film, audiences expect dense plots, epic battles, and dazzling visuals. However, his latest venture, the action comedy mystery film Full River Red, delivers some of these elements unevenly and goes overboard with self-indulgent gimmicks. As is often the case, the story is set in an ancient era but this time comes marked by an excess of twists to the point of nausea.

When a Jin diplomat is mysteriously assassinated at the house of Song grand chancellor, Qin Hui (Lei Jiayin), the latter appoints a smart low-ranking soldier, Zhang Da (Shen Teng), and a brave young commander, Sun Jun (Jackson Yee), to solve the case. An important letter is also reported missing, and the conspiracy seems much bigger than initially thought.

Failing to ramp up the drama of things, Yimou adopts a jocular tone that, never fully committing, leaves the film feeling dull. The investigation runs out of steam too early, mired by a convoluted plot that falls into repetitive patterns. It’s hard to see past the glossy surface here, so fans seeking interesting characters should look elsewhere. Moreover, the music playing in the chapter transitions is detestable, and each action scene, sly as it tries to be, feels artificial and terribly monotonous. 

More corny than enthralling, and constantly overacted, Full River Red fails to emotionally invest the audience in the narrative. Lamentably, Yimou didn’t put enough effort into this one to provoke or engage the viewer.

Mami Wata (2023)

Direction: C.J. “Fiery” Obasi
Country: Nigeria

The third feature from Nigerian writer-director C.J. “Fiery” Obasi, Mami Wata, presents a modern fable rooted in West African folklore. This brave and unusual film blends cultural defiance, intriguing mysticism, survival tension, and an unlikely romance, creating a narrative that is both poignant and unsettling. Sometimes spare, sometimes reverberant, the film not only captures the obscure traditional essence of an isolated Nigerian village but also sheds light on the oppression faced by women due to the looming malevolence of power-thirsty men.

Two story follows two warrior sisters, Zinwe (Uzoamaka Aniunoh) and Prisca (Evelyne Ily Juhen), who struggle to comprehend the ways of their mother, Mama Efe (Rita Edochie). The latter is the powerful intermediary between the people of Iyi and Mami Wata, the African goddess of water. Mama Efe entrusts the problems and requests of the villagers to this spirit, rejecting all types of external help to bring vaccines, schools, hospitals, and electricity to the village. However, her authority is called into question when a boy dies from a virus. A central conflict arises - is Mami Wata a real spiritual leader or a myth? To further complicate matters, an inscrutable rebel deserter named Jasper (Emeka Amakeze) arrives unannounced, aligning himself with a local subverter, Jabi (Kelechi Udegbe). 

Refreshingly simple in tone and efficiently structured, the film exudes the charm of old classics, embodying the eternal struggle between good and evil with a clarity that never goes out of style. Likewise, the dilemmas arising from the clash between rigid tradition and enticing progress are straightforward, allowing us to approach this different way of life with a sense of curiosity. 

At times, the story may follow predictable patterns, but it remains consistently fascinating, steeped in lyrical enchantment and fierce determination. What truly lends the film its mesmerizing atmosphere is the quietly radiant black-and-white cinematography by Brazilian cinematographer Lílis Soares.

Dumb Money (2023)

Direction: Craig Gillespie
Country: USA

This biographical comedy-drama depicting the stock short squeeze of video game retailer GameStop in January 2021 leans more towards being laughably tame than audaciously bold. Directed by Craig Gillespie (Lars and the Real Girl, 2007; I, Tonya, 2017) and written by Lauren Schuker Blum and Rebecca Angelo, the film represents a feeble adaptation of Ben Mezrich's book, The Antisocial Network.

Although it’s an ensemble cast that populates the screen, Paul Dano (There Will Be Blood, 2007; Love & Mercy, 2014) takes central stage as Keith Gill, a modest financial analyst and YouTuber operating under the moniker Roaring Kitty. Those who followed Gill's strategies had the potential to amass an unimaginable amount of money in the unpredictable game dictated by the stock market's ebbs and flows. Personal decisions played a pivotal role.

Had the filmmaker dared to dip below the surface, and maybe we would have a better film. Dumb Money fails to adequately develop its characters, making them feel unrelatable and causing the narrative to drag. What are audiences supposed to do with this, anyway? In the midst of the constant buzz surrounding the stock market, Gillespie's film struggles to find its footing. 

His work fails to get under your skin because it's content with poking you in the eye. The material offered the potential to create something thought-provoking and didactic, but he squandered the chance by allowing an invertebrate scenario. Hence, there’s no need to go to the movie theater to measure the extent of the damage because what the film tells you in 104 minutes could be absorbed from reading a brief paragraph.

Rotting in the Sun (2023)

Direction: Sebastian Silva
Country: Chile 

While relaxing in a Mexican gay nude beach, Chilean filmmaker Sebastián Silva meets American comedian and social media influencer Jordan Firstman, who is a fan of his movies. Despite Silva’s initial reservations, they agrees to an artistic collaboration. The two personalities feast on caricatural portrayals of themselves and mock death in this shaggy-dog meta-narrative called Rotting in the Sun. The true standout in the movie is Chilean actress Catalina Saavedra, who skillfully reprises her role as a morally-resistant maid - a character that garnered critical  acclaim in Silva’s second feature, The Maid (2009).

The film unfolds in two distinct halves, and unfortunately, neither proves satisfying. The first part comes off as gratuitous, fixating on the visibly depressed director engrossed in Romanian author Emil Cioran’s book The Trouble of Being Born while contemplating existential struggles and suicide. It’s also pelted with drawn-out, unsimulated sex scenes that add absolutely nothing to the plot. The second part takes a bleak turn, dealing with real death and disappearance, and adopting an investigative and slightly more thrilling tone. However, it fails to shake off the programmatic nature that plagues the narrative.

Silva's direction falters while striving to shock the audience at every juncture, and the repetitive scenes never compensate the lack of ideas. What could have been a provocative satire ended up feeling excessively simulated, derailed by an uncontrolled impetus that only makes it further rigid and cold. In the end, the uninspired director delivers a poor reality-fiction hybrid that proves challenging for the audience to engage with. Unapologetically unpleasant, the film feels stale, like it has been left to rot in the sun.

Bottoms (2023)

Direction: Emma Seligman
Country: USA 

Although exhibiting a proper tonal consistency and acted with intentness, Emma Seligman’s sophomore feature, Bottoms, fails short of the wit and tension showcased in her directorial debut, Shiva Baby (2020). It’s not that the characters lack empathetic eccentricity, but rather that the director amplifies the imbecility in the last quarter to the point of sacrificing any potential subtlety for depthless. 

The story, co-written by Seligman and Rachel Sennott - who also stars - revolves around two unpopular teenage gay girls and best friends: PJ (Sennott) and Josie (Ayo Edebiri). They initiate a feminist self-defense fight club at Rockbridge Falls High School, not necessarily to protect themselves from the giant male football players, but to woo the hot cheerleaders they’ve set their sights on. While the shy Josie is smitten with Isabel (Havana Rose Liu), the outgoing PJ is charmed by Brittany (Kaia Gerber). Amidst unorthodox fight and defense tactics, they learn to share their traumas. 

Alternating between crude rebelliousness and soapy tenderness, the film races through the scenes with sharp-tongued cheekiness, a loud-and-brash posture, and pathetic behavior. It’s off-the-wall and carries an energetic vibe that injects dynamism. However, it often feels forced in its subversiveness and becomes quite dull on occasion, seemingly detached from reality as it favors a puerile absurdity. While most of the jokes are satisfying, only a couple truly land as clever jabs.

Bottoms provides gay-themed material aimed at teens with a level of insight that rarely rises above standard parody. It didn’t resonate with me, but at least the cast appears to have had a blast in this feminist celebration of love, youth, and friendship.

El Conde (2023)

Direction: Pablo Larraín
Country: Chile

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

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

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

Cassandro (2023)

Direction: Roger Ross Williams
Country: USA

The empathetic autobiographical drama Cassandro delves into the true story of Saul Armendáriz, a gay amateur wrestler from El Paso who, in the early 1980’s, catapulted from anonymity to fame after creating the ‘Exótico' character that lends the film its title. Directed by Roger Ross Williams, known for documentaries  such as God Loves Uganda, Life Animated, and The Apollo, and co-written with David Teague, this rare hybrid soars more than it lumbers, brimming with insight and cinematic flair. It marks the director’s narrative debut feature.

The plot offers an intimate look at Saul’s dreams, struggles, and life - the breathlessness of a young, creative fighter seeking for recognition and the adult realization that life, no matter its accomplishments, is not without hardships. The protagonist, competently portrayed by Gael Garcia Bernal, lives with his loving mother and true inspiration, Yocasta (Perla de la Rosa). He also maintains a secret yet frustrating relationship with a married wrestler (Raúl Castillo), and unsuccessfully tries to cope with the emptiness left by an absent father who suddenly vanished after he came out at the age of 15. Occasional flashbacks peek into the characters’ past without succumbing to melodramatic trappings.

Provocative without being excessively flamboyant, Cassandro is endowed with remarkable performances, underlining themes of freedom, courage, and ambition in most scenes; it offers an engrossing exploration of Saul’s duality in life. For the way it was done, it doesn’t necessarily beg for attention, but it certainly earns it.

Landscape With Invisible Hand (2023)

Direction: Cory Finley
Country: USA 

From Cory Finley - the director of Bad Education (2019) and Thoroughbreds (2017) - comes Landscape With Invisible Hand, an offbeat sci-fi romantic comedy drama with fitting social commentary but grappling with an uneven narrative pulse. The film, an adaptation of M.T. Anderson's novel of the same name, ventures down devious pathways, losing track of a potential cinematic provocation due to storytelling veering into self-indulgence and characters who often feel emotionally distant. It’s also visually restrained for a futuristic tale.

While the film doesn't falter on every level, boasting occasional successful black humor and delightful tensions between families, it generally lacks soul and struggles to connect with the theme of an alien seeking entertainment through teenage love. 

The director, concerned with charting trajectories of human subjugation and alien ascendancy, remains on the surface, weaving a crass hodgepodge of elements that don’t fully coalesce. However, respectable performances by Asante Blackk, Kylie Rogers, and Tiffany Haddish were a positive surprise, and that paid off in places.

Talk To Me (2023)

Direction: Danny Philippou, Michael Philippou
Country: Australia

Talk To Me is a solid addition to the horror genre, placing teenagers at the heart of its chilling narrative. It marks the directorial debut of the Philippou Brothers, awarded YouTubers who worked on Jennifer Kent’s acclaimed The Babadook (2014). The directors squeeze out considerable crawling tension throughout an ambitious film that culminates with a sickening poignant ending.

The plot revolves around a group of teenagers seeking thrills by conjuring spirits using a mysterious embalmed hand. As they become ensnared in this perilous game, tragic events unfold, plunging them into a nightmarish ordeal filled with malevolent spirits and dripping with cold sweats.

Devilishly effective, this modest yet compelling Australian production delves deep into the psychological realm. It grapples with serious issues affecting today’s youth, including absence, grief, depression, and social media addiction.

While employing some familiar horror tropes and encountering minor stumbling blocks in the plot, the film masterfully maintains a grip on the audience, evoking a sense of unease throughout. Each scene is perfectly controlled, and the special effects - favoring more physical than digital techniques - contribute to an immersive visual experience. Hence, despite its flaws and the relatively simple concept, Talk To Me proves to be a successful spookster for the majority of its runtime.

The Bohemian (2023)

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

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

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

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

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

Beau is Afraid (2023)

Direction: Ari Aster
Country: USA 

Beau is Afraid is a quirky Freudian odyssey with an unhinged mother/son relationship at the center and some elliptical Kafkaesque situations. Starting off well, it takes a descending curve over the course of a disjointed structure. This exhausting three-hour trip to the edge of madness stars Joaquin Phoenix as the title character. However, even shifting extraordinarily in attitude from child fragility to adulthood deliriums, he’s powerless in the face of an overstuffed script that serves as a lopsided vehicle for his outstanding acting skills. 

For a film by Ari Aster, who gave us horror gems like Hereditary (2018) and Midsommar (2019), it is unspeakably disappointing. It would have been a better horror comedy if it didn’t suffocate in its own ideas. Everything appears to follow a sort of code that needs deciphering, and the systematic metaphors become tiresome as we delve into the real/surreal aspects of a neurotic man whose severe childhood trauma prevents him from finding happiness. Beau tries to reach his mother’s place in time, both before and after her death, but with no success. 

Playing with twisted dimensions and labyrinthine layers, Aster squanders the chance to lead a few good ideas to fruition. The result, much less fascinating than expected, is congested and appalling.

The Origin of Evil (2023)

Direction: Sébastien Marnier
Country: France 

The Origin of Evil is a petty comedic thriller with an ostentatious profusion of pretenses. Following Faultless (2016) and School’s Out (2018), writer-director Sébastien Marnier delivers another story centered on class defectors that lures one in at an early stage, keeping the audience on edge with a tight mysterious grasp until everything is suddenly revealed. Afterward, it falls into pure thriller routine with no smarts.

Equipped with a great cast but in need of better editing, the film follows Nathalie (Laure Calamy), a modest young woman who decides to meet her estranged, wealthy father (Jacques Weber) for the first time. Battling illness, this man lives controlled by his wife (Dominique Blanc), a compulsive consumerist; his arrogant daughter (Doria Tillier), who took over his businesses; and a constantly vigilant housekeeper (Véronique Ruggia). Although highly caricatured, not a single character is likable. 

Affected by the imposter syndrome, this is the kind of film where you cannot find a trace of honesty, and you know it beforehand. The director employs a bunch of deceits as narrative propellers, but the film, paralyzed by aloofness, runs out of ideas fairly quickly, leaving us with a general feeling that not everything is quite clicking the way it could have. I found myself struggling to find the laughs while observing avid women battling one another fiercely for dominance and acceptance.

Amerikatsi (2023)

Direction: Michael A. Goorjian
Country: Armenia

American actor, director and writer Michael A. Goorjian gazes at the tough fate of Charlie (played by the director), a survivor of the Armenian genocide who, having lived in the US since the age of four, returns to Armenia decades later to help rebuild a country that fell under Soviet sovereignty. His good intentions are defeated after bumping into a sympathetic woman, Sona (Nelli Uvarova), whose jealous husband Dmitry (Mikhail Trukhin) - a high-ranking Russian officer - sends him to prison on false accusations of religious propaganda, cosmopolitanism and capitalism.

As a child, Charlie was encouraged by his grandmother to never lose his smile no matter what life brings to him, and he takes that advice literally. When everything seems lost, from his cell window, he finds amusement in peeking a loving couple in a neighboring apartment. The man is Tigran (Hovik Keuchkerian), Sona’s brother and a censored artist turned prison tower guard. 

Filmed with warmth, the film doesn’t leave behind much of a climax but is gorgeously photographed, with Goorjian making the most of the material with a quiet candor that, well anchored in emotion, is never excessively sentimental. Despite the harsh story, he’s able to leave the audience with a smile on their faces by handling serious matters in funny ways. He follows the same positivity that Roberto Benigni adopted in Life is Beautiful (1997). 

Amerkatsi doesn't transcend drama or comedy conventions, but uses the steep contrast between injustice and human values to bolster its narrative; all with the help of a full-blooded direction, a gently satirical tone, and fine performances. The bittersweet ending will leave you reflecting on life after liberation.