Eileen (2023)

Direction: William Oldroyd
Country: USA

Directed by William Oldroyd (Lady Macbeth, 2016), Eileen is an adaptation of Ottessa Moshfegh’s debut novel of the same name, with a screenplay by Moshfegh herself and Luke Goebel. It’s a soggy slow burn depicted with formal pomp and impressive cinematography that, gradually, goes from intriguing to banal.

The plot follows Eileen (Thomasin McKenzie), a bored and lonely young woman who lives with her alcoholic father (Shea Whigham), a troubled ex-cop, and works in a juvenile detention facility as an assistant. Her routine takes a strange turn when Rebecca (Anne Hathaway), a confident psychologist and graduated from Harvard, arrives at New England, bringing some fantasy into her life but also chaos. Both women share a special interest in Lee Polk (Sam Nivola), a kid who mysteriously stabbed his father to death in his sleep. 

Eileen is better characterized than Rebecca, who appears more enigmatic, and the flatness of the story is intermittently interrupted by the former’s grace. However, as a noir psychological thriller, the film fails to raise its staging to exceptional heights, remaining more or less nailed to the ground. It’s all done mechanically, without the brilliance that would have captivated the audience. 

Sensuality, desire, and depressive insanity are predominant factors in a story that recites all the commonplaces of the genre without possessing the sophistication of its models. Despite incorporating some twists that force changes in direction, Eileen falls short of being exciting, concluding with a rushed ending that lacks surprise or shock. What remains is just the idea of something uncomfortably bland.

How to Have Sex (2023)

Direction: Molly Manning Walker
Country: UK / Greece

In this conventional coming-of-age drama film, written and directed by debutant English filmmaker Molly Manning Walker, the narrative subtly questions consent and explores the emptiness of youths rushing to embrace adulthood. The film delves into sexual and emotional disillusion, unreliable friendships, and ultimately hope. It starts as a lascivious, energetic romp with quick editing but evolves into a hard-nosed, somewhat schematized summer adventure before the too easy ending. 

The plot revolves around three British friends - Tara (Mia McKenna-Bruce), Em (Enva Lewis), and Skye (Lara Peake) - who embarks on a trip to a party resort in Malia, located on the Greek island of Crete, with the intention of having fun. Tara, in particular, feels the societal pressure of still being a virgin, and the film explores how the 'dream' surrounding a first sexual experience often falls short of expectations.

While the initial segment may not be particularly surprising, the film gains more depth as the real problem emerges, exposing those gray areas associated with the topic with realistic perception. What you thought would happen, does... with no less traumatizing nuance that, for moments, takes the form of a sun-and-sea-kissed nightmare. Despite moments where the plot feels like a rough draft, the tension simmering beneath the surface is undeniable. The way the 16-year-old protagonist is tempted and entrapped is portrayed with authenticity, and McKenna-Bruce capably conveys the emotional tumult associated with such a transformative experience.

Society of the Snow (2023)

Direction: Juan Antonio Bayona
Country: Spain / USA

From the Spanish director of The Orphanage (2007) and The Impossible (2012), Juan Antonio Bayona, Society of the Snow is a moving tale of survival against all odds and a magnificent lesson in courage and hope. Adapting Pablo Vierci’s book of the same name, Bayona, along with his three co-writing associates, solidly depicts the 1972 crash in the Andes Mountains of an Uruguayan Air Force plane transporting a rugby team from Montevideo to Santiago. 16 people miraculously survive in unimaginable conditions after 72 days of being stranded, facing extreme cold, hunger, and complex moral dilemmas.

The film provides an uncomfortable viewing experience, offering an overwhelming and anguishing account of a terrible accident. The cumulative visual effects is powerful enough to get you caught in the gut, exposing horror and suffering at different levels while also enhancing the courage and the hope of these brave men with stunning precision and grueling agitation.

The movie's greatest strength lies in its visuals, supported by a nausea-inspiring sense of survivalism that shifts gears into noble acts of kindness, compassion, and collective trust. The plane crash is breathtaking in its technical magnificence, but the emotions, despite numerous close-ups and moments of high tension, ebb and flow.

Having said that, while Society of the Snow may not be a constant nail-biter, there’s enough of an emotional engine driving interest in the story. Magnified by Pedro Luque’s sharp cinematography, this stress-inducing film offers a sensory experience tcapable of accelerating your heartbeat and diverting your mind from minor troubles.

All Dirt Roads Taste of Salt (2023)

Direction: Raven Jackson
Country: USA 

Counting on Barry Jenkins, the director of Moonlight (2016) and If Beale Street Could Talk (2018), as a producer, All Dirt Roads Taste of Salt marks the directorial debut of Raven Jackson, a poet and photographer from Tennessee. The film is a contemplative drama that serves as a memoir spanning 50 years, recounting the story of Mackenzie, a Black teenage girl who grapples with an unexpected pregnancy in Mississippi. 

The film’s interesting premise deteriorates due to a sluggish pace, monotonous conception, and sparse dialogue. The floating structure and dreamy aura contribute to a sense of sadness, but they may hinder a deeper exploration of the elements at play, and the long shots and quietness dip the film in exasperation. It’s an overlong experience that tests the audience's patience while struggling to make a lasting emotional impact.

Even radiating intimacy at times, All Dirt Roads Taste of Salt fails to validate a lasting claim on the heart. The narrative, relying heavily on images rather than words, could be told in ten minutes. As a result, there’s simply not enough here to really engage.

Ferrari (2023)

Direction: Michael Mann
Country: USA

The accomplished director Michael Mann, known for films like The Last of the Mohicans (1992), Collateral (2004), and Ali (2001), brings his expertise to this biographical sports drama centered around Enzo Ferrari, the renowned Italian entrepreneur and founder of the Ferrari Grand Prix motor racing team. Written by Troy Kennedy Martin, based on the biopic Enzo Ferrari: The Man, the Cars, the Races, the Machine by journalist Brock Yates, the film delves into Enzo’s business challenges, his tumultuous relationship with wife and business associate Laura Domenica Garello, his solace found in mistress Lina Lardi and their son, and his drivers of choice - in particular Alfonso de Portago. 

Adam Driver and Penelope Cruz give a pair of excellent performances as husband and wife, contributing considerably to the relative success of a film that revealed to be less exciting than initially expected. There are some spectacular racing sequences but the film misses greater opportunities to shine and ultimately wobbles in its struggle to hold our interest. Essentially, the emotions are subdued, compromising the film’s provocative intents. Having said that, and despite some occasional dragging pace, the narrative follows logically, and the facts are delivered with no major flaws or startles.

As a result, half the audience will gasp at the drama, while the the other half - the auto racing enthusiasts - may seize the moment to deepen their historic background on Ferrari team and its founder.

American Fiction (2023)

Direction: Cord Jefferson
Country: USA 

American Fiction unfolds as an open-hearted comedy drama with spun fast and sharp dialogue where humor prevails even in the midst of poignant moments. It’s a remarkable feature debut for Cord Jefferson, whose curious perspective and narrative intelligence keep a tight focus on the central character. He makes the film a powerful triumph.

The story centers on Thelonious “Monk” Ellison, portrayed by Jeffrey Wright, a talented yet frustrated Black author and English professor. Under a pseudonym, Monk writes a deliberately clichéd satirical novel that exposes the hypocrisy of the publishing industry and white consumerism. Accused of not being ‘Black enough’ in his writings, Monk grapples with death and illness in the family, and contends with the success of a new literary sensation: Sintara Golden (Issa Rae), whom he deems a fraud. Additionally, he reconnects with his estranged brother, Cliff (Sterling K. Brown), a messy plastic surgeon, and navigates a complex love story with Coraline (Erika Alexander), a lawyer living across the street from his mom. 

Sensitive in so many ways but also confrontational, the film is a brazenly enlightening, stingingly thought-provoking satire that straddles the realms of drama and comedy, making its point. It’s one of those pictures that remains engaging, even in its silliest scenes, ultimately achieving an airy result considering such weighty thematic loads. 

Brilliant casting and a cleverly woven story ensure that funny, angry, and heartbreaking moments blend seamlessly. Wright, who played the leading role in Julian Schnabel’s Basquiat (1996) and has been featured in Wes Anderson’s latest works - The French Dispatch (2021) and Asteroid City (2023) - plays his character with mordancy, virtuosity, and blistering perfection, delivering a career-high performance. Also, composer Laura Karpman infuses some wonderful musical vibes, leaning more towards cool piano jazz than the angular style of Thelonious Monk. 
American Fiction presents itself in a distinctive cinematic fashion, leaving a lasting impact on its audience.

Poor Things (2023)

Direction: Yorgos Lanthimos
Country: USA

Greek-born filmmaker Yorgos Lanthimos is able to keep audiences in giddy laughter or shocking horror. Known for his unique storytelling in films like Dogtooth (2009), The Lobster (2015), and The Favourite (2018), he presents his latest black comedy, Poor Things. Adapted from Alasdair Gray's 1992 novel, the film is written by Tony McNamara and features a stellar cast, including Emma Stone, Willem Dafoe, Mark Ruffalo, and Ramy Youssef.

The film follows the story of Bella (Stone), a candid young Victorian woman brought back to life by the eccentric surgeon Dr. Godwin Baxter (Dafoe). With newfound free will, Bella embarks on a journey of self-discovery, choosing to explore life with its pleasures and challenges. Her unconventional choices, including running away with lawyer Duncan Wedderburn (Ruffalo), will teach her many things, ultimately sending her back to an unimaginable past of darkness.

Gorgeously rendered, the film offers a smart and eccentric exploration of society and the human experience. An ambitious idea framed with visual distinction and spirited performances, where vertiginous philosophical foundations merge with a strong determination in self-learning and sexual liberation. This sinister tale is hilarious in spots, persistently full of life (despite dealing with death), and provocative as the hip filmmaker likes to shape his off-kilter comedies. 

With its moody soundscape by Jerkin Fendrix and superb cinematography by Robbie Ryan, Poor Things is the standout unconventional comedy of the year. Lanthimos continues to surprise audiences with his daring imagination, offering a fresh and intoxicating cinematic experience.

Godzilla Minus One (2023)

Direction: Takashi Yamazaki
Country: Japan

If you enjoy adventure films with a combination of intense action and dramatic flair, Godzilla Minus One might be the movie for you. Directed by Japanese filmmaker Takashi Yamazaki, the film offers a visceral and fast-paced fantasy with striking visuals and a strong sense of conviction. Yamazaki employs blockbuster tactics to depict multiple dangerous situations with a radioactive Godzilla wreaking havoc on a postwar Japan. 

The story revolves around Koichi Shikishima (Ryunosuke Kamiki), a former kamikaze pilot turned deserter and sea-mine extractor. His lack of courage brings shame to many of his fellow countrymen. However, when he encounters Noriko Oishi and her rescued orphan baby, he discovers a new purpose in life. As Godzilla heads to Tokyo, Koichi sees an opportunity to redeem himself and prove his bravery and piloting skills.

The film explores strong anti-patriotic sentiments associated with the loss of war, mixed with a sense of unity among a group of civilians led by former naval weapons engineer and strategist Kenji Noda (Hidetaka Yoshioka). Despite some plot holes and sentimental moments, Yamazaki enhances the film with stylized visuals, well-composed frames, and knockout sequences that blend ferocity with desolation. The director bends the rules of the genre by providing reinforced visual effects and relying on an intense musical score. While Godzilla's new roar is a result of a simple amplification of the original, the overall experience feels fresh and new.

Maestro (2023)

Direction: Bradley Cooper
Country: USA

Directed by and starring Bradley Cooper, Maestro is a well-crafted representation of the enduring marriage between iconic conductor and composer Leonard Bernstein and his actress wife Felicia Montealegre. The film avoids messiness in its timeline, presenting an honest and mature biopic that excels on all fronts.

The story, spanning 30 years, starts with a prologue where Bernstein is filmed and interviewed at home, but the story quickly winds back to his conducting debut with the New York Philharmonic at Carnegie Hall and his rapid rise to fame in 1943. Then, it focuses on the couple and how they changed over the years as he embraces the absolute freedom of the artist, sometimes recklessly. Despite betrayals and jealousy, their love proves to be resilient.

Cooper, who co-wrote with Josh Singer (Spotlight, 2015; First Man, 2018), not only delivers his best directorial work - I wasn’t particularly a fan of A Star is Born (2018) - but also his best performance, creating an extremely empathetic atmosphere that spans a wide range of emotions. Carey Mulligan’s earnest performance, the beauty of black-and-white and pastel-colored visuals by Darren Aronofsky’s regular cinematographer, Matthew Libatique, and the immaculate production, involving talents like Martin Scorsese and Steven Spielberg, contribute to the film's richness and tonal consistency. Maestro stands as a testament to Cooper's directorial and acting prowess.

Priscilla (2023)

Direction: Sofia Copolla
Country: USA

Filmmaker Sofia Coppola has consistently impressed audiences with her unique perspectives and depictions in films like The Virgin Suicides (1999), Lost in Translation (2003), and Marie Antoinette (2006). In her latest work, Priscilla, a biographical drama based on Priscilla Presley’s memoir Elvis and Me, Coppola explores the turbulent journey and controversial relationship between the title character and the king of rock 'n' roll. 

The story begins when 14-year-old Priscilla Beaulieu is invited to a party in Germany and meets 24-year-old Elvis at the peak of his fame during military service. The initial fascination gradually fades over the years, marked by Elvis' aggressive reactions, addiction, and possessively toxic behavior. Priscilla goes from being a teen muse to a discarded wife.

Coppola, with the executive production assistance of Priscilla herself, creates an anti-fairy tale with sophisticated visuals. The film exudes earnest charm, and Cailee Spaeny, in a compelling performance, shines with incandescence. However, Jacob Elordi's portrayal of Elvis is unconvincing. While the film may lack a substantial plot or astounding revelations, and its tone becomes somewhat static, it is a gutsy, can’t-look-away work that captures the emptiness of a crumbling relationship.

Priscilla, painted with a filter of candor and maintaining its drive and passion, ultimately comes together nicely, more in the form of a dramatic whisper than a shout of affirmation.