Memory (2024)

Direction: Michel Franco
Country: USA

Mexican writer-director Michel Franco, whose body of work includes After Lucia (2012) and Chronic (2015), returns with Memory, a taut, beautifully composed drama where every moment holds weight. The film traces the journey of Sylvia (Jessica Chastain), a Brooklyn-based social worker, single mother, and recovering alcoholic, who discovers a sense of solace in her strained family dynamics through her relationship with Saul (Peter Sarsgaard), a stranger grappling with early onset dementia. However, things get complicated as they grow closer.

There’s a real emotional heft to Memory as it weaves together themes of trauma, resentment, guilt, hope, and healing. Chastain and Sarsgaard give life to understated yet memorable characters with their riveting performances.

Assuring that his fine narrative development leads to a positively simplistic resolution, Franco directs the film with both elemental allure and haunting familiarity. He skillfully shapes every aspect of this poignant exploration of healing love with an ultra-realistic vision and precise calibration, avoiding clichés or despair while maintaining authenticity.

Coma (2024)

Direction: Bertrand Bonello
Country: France

From the director of Nocturama (2016) and The Beast (2024), Bertrand Bonello, Coma is a challenging avant-garde drama with eerie tones and experimental flair. Matured and shot during the Covid lockdown, the film resulted as an expansion of a short film, aguishly exposing a world that is manifestly out of balance.

Louise Labèque, who previously collaborated with Bonello in Zombi Child (2019), portrays a teenager whose mind wanders while confined indoors. Her interest is piqued by Patricia Coma (Julia Faure), a YouTube influencer who advertises and sells a cubical object called The Revelator, leading her to experience hypnotic, if anxious, dream states. 

Coma isn't a film you can digest right away; it's a movie to enjoy or detest, at your leisure. While some may find it occasionally transfixing, others might struggle with its prolonged nightmarish limbo, which the film accurately portrays. It offers a radical reflection on isolation and the current state of the world, presented as an overstuffed pastiche with references to demons, possessions, psychopaths, serial killers, self-control, freewill, obscure dreams, and poignant realities.

While its major problem lies in the excess of disparate elements, scattered techniques, and tangled ideas, which oscillate between banality and provocation, Coma remains an open work of art with something to say about a very specific and significant time for humanity.

Evil Does Not Exist (2024)

Direction: Ryusuke Hamaguchi
Country: Japan 

Ryusuke Hamaguchi (Wheel of Fortune and Fantasy, 2021; Drive My Car, 2021), known for his ability to transform simple plots into impactful films, continues to impress with his latest work, Evil Does Not Exist, a sublime ecological fable marked by tragic personal consequences. What started as a collaborative audio/visual project with composer Eiko Ishibashi, became a relevant piece of narrative fiction about how threatened our ecosystems and existences are.

“Balance is the key”, claims Takumi, the protagonist of the film, portrayed by assistant director-turned-actor Hitoshi Omika. He is a single father and expert in trees and plants, living in a rural alpine region near Tokyo. When a shady company, discreditably represented by two talent agents, announces plans to build a glamping site in the area, Takumi and the local community raise concerns about environmental impacts.

Sculpted with vision and purpose, this uncommonly edited film warns us of the fragility of our planet as well as the greed plaguing our modern societies. The limpid and leisurely composed images are a pure treat for the eyes, exuding a heavenly sense of peace that contrasts with the imminence of danger. An impressive breadth of realistic investment doesn’t prepare you for the nearly surreal climax, in one of those finales that are not simply given but rather prompts reflection on both harmed natural environments and the volatility of human nature. 

There’s a lot to drawn from Hamaguchi’s directorial sensitivity given that it’s rare to see a drama that makes such subtle sense of its subject matter. True to his style, he solidifies his position as one of the greatest filmmakers of our times.

Civil War (2024)

Direction: Alex Garland
Country: USA 

In Alex Garland’s latest film, Civil War, a tale of courage unfolds against the backdrop of a dystopian landscape ravaged by chaos. Led by renowned war photojournalist Lee Smith (Kirsten Dunst), a small group of journalists, including Reuters reporter Joel (Wagner Moura), embarks on a perilous journey across a fractured country to interview the authoritarian US President in Washington, D.C., before the city falls to rebel forces. Accompanying Lee and Joel are veteran NY Times journalist Sammy (Stephen McKinley Henderson), considered too old for the mission, and aspiring photojournalist Jessie Cullen (Cailee Spaeny), who flagrantly tags along. 

The tense narrative predominantly draws from violence and human cruelty, yet it doesn't forsake humor, extracting it from unexpected situations. Little is explained about the motivations of the factions involved in the conflict, but there’s a stark warning about the consequences of extremism instead. While critical of war obsession and racism, the film emphasizes the neutrality of the journalists as they navigate the chaos with determination and addictive voyeurism.

Departing from his previous sci-fi works like Ex Machina (2014) and Annihilation (2018), Garland injects furious nihilism in his staggeringly realistic depiction of a near-future setting that, as it should, leaves audiences feeling exhausted and wrung-out. Flawless performances, including a notable appearance by Jesse Plemons as an ultranationalist militant, combined with a timely soundtrack featuring songs by Suicide and De La Soul, and a powerful score by Ben Salisbury and Geoff Barrow, contribute to the film's impact. Civil War is a stone-cold stunner that captivates from start to finish.

Challengers (2024)

Direction: Luca Guadagnino
Country: USA

Renowned Italian director Luca Guadagnino, whose work first came to the public’s attention with Call Me By Your Name (2017), probes a new hype style with calculated punchiness in his latest feature, Challengers, a meretricious and manipulative sports-meet-romance undertaking with a lackluster conclusion. 

Written by Justin Kuritzkes, making his screenwriting debut after gaining recognition as a playwright, Challengers stars Zendaya, Josh O’Connor, and Mike Faist in a tale of toxic relationships set against the backdrop of professional tennis. While emotional complexity, betrayal, rivalry, friendship, and sports pressure are intertwined in a non-linear narrative, the director struggles to overcome the challenges posed by this explosive mix. The tennis scenes are well-executed, but the love triangle feels like a mere curiosity, with insufficient dramatic motivation and coming across an oversexed triviality with soap opera traits. 

Additionally, the original score by Nine Inch Nails’ members Trent Reznor and Atticus Ross can be intrusive at times, and the finale, while intense, seems too fabricated. Ultimately, despite the promising setup, Challengers fails to fully capitalize on its potential. I don’t see it as a very grown up movie, and was craving for more clever twists in the plot. These charming threesome never hit the ball with enough ability to make it over the net.

Seagrass (2024)

Direction: Meredith Hama-Brown
Country: Canada

Seagrass, the directorial feature debut by Canadian actress Meredith Hama-Brown, is an uneven family drama centered on a decaying marital relationship exacerbated by recent loss. Rather than committing to a specific mood, the film explores various emotional territories, constantly obsessed with trauma both within both adult and youth realms. Hama-Brown also infuses a supernatural element in the story that fails to resonate.

In the wake of her mother’s death, Judith (Ally Maki), a Canadian of Japanese descent, and her husband Steve (Luke Roberts) seek marital therapy at a coastal retreat in British Columbia. Taking their two daughters - Stephanie (Nyha Huang Breitkreuz) and Emmy (Remy Marthaller) - with them, they still manage to find time to hang with regulars Pat (Chris Pang) and Carol (Sarah Gadon), who love to offer a bit of advice about everything. 

The doubts, confused feelings, and deep-seated disconnection that keep tormenting the lead character are valid, but Seagrass lacks groundbreaking originality, ultimately concluding on a disconsolately vague note after a powerful premise. Infrequently compelling, the film struggles with fabricated scenes and artificial musical moments, which only serve to heighten melodrama in a plot that simply doesn’t know where to go.

La Chimera (2024)

Direction: Alice Rohrwacher
Country: Italy

Alice Rohrwacher’s films, notably Happy as Lazaro (2018) and The Wonders (2014), captivated audiences with their intriguing narratives. La Chimera, her fourth feature, stands out as a haunting archeological fable set in Tuscany during the 1980s. Rather than relying on suspense, Rohrwacher favors ambiance, crafting a story that delves into a painful past, an inebriated present, and an uncertain future. 

The story revolves around Arthur (Josh O’Connor), a nearly-spectral English wanderer with a supernatural ability to locate Etruscan artifacts in tombs and underground chambers dating back over 2000 years. Recently released from jail for smuggling these artifacts, Arthur, reluctantly rejoins his gang of “tomb diggers” while awaiting the return of his departed love, Beniadina. He also reconnects with Benidiana’s welcoming mother, Flora (Isabella Rossellini), and gets involved with her Brazilian student/maid, Italia (Carol Duarte), a surreptitious mother of two. 

When at its sharpest, Rohrwacher’s script exudes lyricism in its bendable trajectory, casting a spell on viewers. However, the comedic elements are overshadowed by the emotional crisis of an unpredictable, alienated protagonist with a strong inclination for sloppiness. Love and death are squeezed into an eccentric cinematic pot that, in a sense, harkens back to classics from Pasolini, Scola, Fellini, and Cocteau. Some nostalgic moments are magical and profound in a film full of nudges and nuance. This is simultaneously a fascinating character study, a poignant drama edited with breaks of slapstick humor, and an acute piece of psychological realism that connects the living and the dead.

Even with some unnecessary lengths, La Chimera provides a singular experience in a kind-hearted fashion that allows the movie to resonate with more warmth than what was initially thought. O’Connor delivers an engrossing performance, complemented by Duarte and Rossellini, who are a pleasure to watch.

Inside the Yellow Cocoon Shell (2024)

Direction: Thien An Pham
Country: Vietnam

Inside the Yellow Cocoon Shell, the debut feature film by Vietnamese writer-director Thien An Pham, is a lethargically narrated drama with an abstruse title and extended duration. It takes some time to adjust to the director’s contemplative gaze, framed with a static camera and faintly stirred by spiritual consciousness and casual dialogue.

This journey of self-discovery follows Thien (Le Phong Vu), a Saigon-based man who returns to his rural Vietnamese village following the tragic death of his sister-in-law in a motorcycle accident. Assuming temporary guardianship of his 5-year-old nephew, Dao (Nguyen Thinh), Thien embarks on a solitary road trip in search of his estranged older brother, a former seminarian who abruptly abandoned his marriage. During this time, he also reconnects with Thao (Nguyen Thi Truc Quynh), a former flame who has since become a nun and teacher. 

While some viewers may desire a quicker pace and more dynamism in the process, the film's simplicity proves hypnotic, drawing parallels to the works of directors like Tsai Ming Liang, Apichatpong Weerasethakul, and Jia Zhang Ke. Pham skillfully navigates between dreamlike sequences and grounded realism, exploring the complexities of the human soul in all its conflicted feelings and persistent memories.

Ultimately exhausting, this pale tale releases tension with a conclusion that leaves us suspended in reflection. Inside the Yellow Cocoon Shell is a genre unto itself, demanding patience and introspection without veering into complete abstraction. Although strangely immersing, not everyone will be invested in the questions it poses.

Arcadian (2024)

Direction: Benjamin Brewer
Country: USA

In its second collaboration with actor and co-producer Nicolas Cage, director Benjamin Brewer (The Trust, 2016) brings us a post-apocalyptic horror tale set in a world overrun by lethal nightly creatures that frantically clap their jaws before massacre anyone in their path. Cage portrays Paul, a vigilant father of two teenage boys, the impulsive Thomas (Maxwell Jenkins) and the resourceful Joseph (Jaeden Martell), whom he instructs in defense techniques and survival strategies. When Thomas fails to return from the nearby Rose Farm before nightfall, panic ensues, and danger looms both inside their farmhouse and beyond its walls.

Arcadian rightfully earns its place among contemporary apocalyptic films, kept engagingly off-balance between horror tale, family drama, and teen romance. The special effects and characterization are awesome, but the tale risks running out of ideas at some point. However, it denotes a firm command of tone and decent visuals. The creepy, original monsters are a motivation and a mystery; Cage, who is revealed to have a special ability to return from the dead, discloses the bravest of the hearts; while the youthful energy and recklessness of the boys inject vitality into the story. 

The handheld camera work may be a minor drawback for some viewers, and opportunities for deeper exploration of character dynamics and the catastrophic events could have been better utilized. Nonetheless, Brewer's direction demonstrates unwavering commitment, resulting in what is arguably his strongest work to date.

The Settlers (2024)

Direction: Felipe Gálvez Haberle
Country: Chile / Argentina / other

Felipe Gálvez Haberle's directorial debut, The Settlers, delves into a dark chapter of Chilean history, chronicling a harrowing journey undertaken by three men from Tierra del Fuego to Argentina with the sinister aim of exterminating Indigenous peoples across the pampas. 

Set in 1901, the narrative revolves around Segundo Molina (Camilo Arancibia), a young mixed-blood tracker and skilled marksman, who joins forces with Alexander MacLennen (Mark Stanley), a ruthless English Lieutenant, and Bill (Benjamin Westfall), a prejudiced American mercenary. Both men are hired by Jose Menéndez (Alfredo Castro), a wealthy landowner who disposes the Indigenous people from their land to profit. Along their journey, they bump into a competitive Argentinean captain and a despicable Scottish colonel, carrying out their mission with tenacity. Interrupted by a seven-year gap, the two-part narrative culminates in the visit of Mr. Vicuña (Marcelo Alonso), an intellectual nationalist working for the Chilean president, to Menéndez, in the last corner of the Earth. 

Inspired by real characters, the film effectively captures the poignant brutality of the genocide perpetrated against the Selk'nam Indians in Chile. Its portrayal of a primitive environment tinged with political upheaval and savage acts evokes the spirit of classic westerns, here infused with shades of Herzog and Jodorowsky’s filmmaking styles.

Haberle keeps sentimentality away and doesn’t spare us to violence. The film’s heartrending conclusion may leave viewers feeling somber, with a sense of pure intoxication. Despite its bleak topic, The Settlers is elevated by its stunning location shots and the sharp cinematography of Simone D’Arcangelo, who previously showcased his talent in the exquisite The Tale of King Crab (2021).

Spaceman (2024)

Direction: Johan Renck
Country: USA

Adam Sandler takes on the role of a solitary Czech astronaut in Spaceman, tasked with a research mission to the edge of the solar system to investigate a mysterious interstellar cloud. As he spends six months isolated in his ship, he becomes increasingly anxious about the possibility of his pregnant wife, Lenka (Carey Mulligan), leaving him. Amidst this emotional turmoil, he encounters an intelligent ancestral creature—a giant space spider—that helps him confront his selfishness and grapple with feelings of loneliness, guilt, and regret. 

Based on Jaroslav Kalfar's novel Spaceman of Bohemia, the film adaptation, helmed by Chernobyl’s director Johan Renck and written by Colby Day, fails to delve beyond the obvious, offering a forgettable space journey masquerading as a couple’s therapy. Despite attempting to create impact with an ambiguous open ending, the film ultimately falls short, missing the mark on its potential for depth and exploration.

One of the film’s most dispiriting aspects is the mediocre character development and absence of tension. Neither shaping as a real sci-fi adventure nor grounding itself in a compelling romantic drama, Spaceman falls into a middling territory, promising more than it deliveries. Its slow narrative pace, coupled with verbose sequences that prioritize cerebral musings over genuine insight, results in a film that struggles to maintain logical coherence and foster empathy. It’s a half-interesting, half-baked illustration weighed down by a listless melancholy that sedates more than inspires.

Road House (2024)

Direction: Doug Liman
Country: USA

Directed by Doug Liman and starring Jake Gyllenhaal, Road House is a shabby, deeply predictable remake of the 1989 original film, which starred Patrick Swayze in the same role. The action is relocated to the Florida Keys, where Dalton (Gyllenhaal), a former UFC fighter with a troubled past and anger issues, is hired as a bouncer in a chaotic roadhouse plagued by violence.

The film begins with a stylized video game aesthetics and ends as an action-packed idiocy led by a protagonist with absolutely nothing valuable to say. Gyllenhaal already shown that he's better than this type of material, while Connor McGregor - our hero’s fiercest rival -  is simply ridiculous in a film that deteriorates by the minute. 

The plot, penned by Anthony Bagarozzi and Chuck Mondry, is painfully dull, riddled with ludicrous double-crosses and poorly executed action sequences that feel artificially enhanced by excessive CGI. Those flashy scenes involving boats are a blatant example. Hence, lacking creativity in the plotting mechanisms, the film seems determined to hit us over the head with acres of clichés. 

Road House is a monotonously by-the-numbers film where even the punches ring false. It's wiser to steer clear of this remake and seek out decent entertainment elsewhere.

Last Summer (2024)

Direction: Catherine Breillat
Country: France

Provocative French filmmaker Catherine Breillat, known for works like Fat Girl (2001) and Abuse of Weakness (2013), makes her return after a decade with Last Summer, an uninteresting remake of the Danish drama Queen of Hearts (2019). Teaming up with Pascal Bonitzer in the script, Breillat employs excessive close-ups to convey intimacy in often drawn-out scenes where guilt and pleasure intertwine in uneven proportions.

Léa Drucker takes the lead as Anne, a capable middle-aged lawyer whose marriage becomes compromised when she embarks on a transgressive relationship with her rebellious 17-year-old stepson, Theo, portrayed by Samuel Kircher. Kircher stepped in for his brother, Paul, who was originally cast but had to withdraw due to post-pandemic scheduling conflicts. 

Despite the moral quandaries that surface, Last Summer feels emotionally distant and somewhat dated, floundering and drowning in its own dramatic viscosity. The characters lack depth and fail to evoke sympathy, while the dialogues verge on the obvious. From the outset, it’s easy to guess what’s coming up as this plodding exercise arrives with a formal structure devoid of both narrative and stylistic novelty.

Coup de Chance (2024)

Direction: Woody Allen
Country: USA

The prolific New Yorker Woody Allen returned to Paris for his 50th film, Coup de Chance, an anemic romance that morphs into an uninvolving detective comedy. With a fully French cast led  by Lou de Laâge and Melvil Poupaud as Fanny and Jean Fournier, respectively, the film follows them as a married couple whose relationship is suddenly thrown into turmoil when Fanny encounters Alain Aubert (Niels Schneider), a former high school friend and eternal admirer.

While the themes are recurrent in Allen’s filmography, the execution leaves much to be desired as the elements don’t quite mesh. Delivered without magic or brilliance, this is an ordinary masquerade superficially plotted, sloppily directed, unevenly acted, and whose attempting humor falls flat. While the conventional dialogue and mannered staging are quintessentially Allen-esque, they fail to elevate the film beyond its artificial Parisian backdrop, depicted with excessive sharpness and color. 

Coup de Chance is Woody Allen at his weakest, presenting every emotion and action as false, idiotic or frivolous. The film's saving grace lies in its incredibly groovy jazz soundtrack, featuring trumpeter Nat Adderley performing two of his own pieces: “Fortune’s Child” and “In the Bag”, along with a wonderful rendition of Herbie Hancock’s “Cantaloupe Island”.

The Listener (2024)

Direction: Steve Buscemi
Country: USA

The first directorial effort from Steve Buscemi in 15 years, The Listener, centers on a helpline volunteer named Beth (Tessa Thompson, who also produced). Her soothing voice seeks to comfort people grappling with various issues in their lives such as loneliness, frustration, depression, boredom, rejection, guilt, and even mental illness. It’s a one-actor movie with a simple narrative that unfolds over the course of a single nightshift during the Covid pandemic, a time when the demand for telephone counseling services increased massively.

Beth experiences different feelings with each caller. Sometimes she gets interested in a certain topic, or she might feel a chilly sense of discomfort when her interlocutor becomes aggressive. Moved by the hope she puts in the next call, Beth is capable of relating deeply with a person to the point of opening up about her own life and traumas. Each segment offers a bit of a fractured American society, touching on issues like medical insurance, guns, corrupt systems, war trauma, and mental illness. This juxtaposes the tranquility of the home setting with the tension of the conversation. 

Buscemi’s focused direction maintains the same tonal palette throughout, but these segments are engaging enough to keep you invested. However, The Listener won't be a film we'll remember a year from now. This model of low-budget filmmaking is not a compulsive watch like The Guilty (2018), a pure thrilling experience, but is rather enveloped by a slightly tense melancholy that reveals more about this caring young woman. You'd need a flinty heart to ignore her valuable work here, and Thompson carries the film on her shoulders with candidness and conviction.

Origin (2024)

Direction: Ava DuVernay
Country: USA

Directed by Ava DuVernay, known for Selma (2014) and 13th (2016), Origin is a wobbly biographical drama based on Isabel Wilkerson’s Pulitzer Prize-winning book Caste: the Origins of our Discontents, published in 2020. 

Grappling with family loss, Isabel (Aunjanue Ellis-Taylor) decides to spend more time researching the cultural divides of caste and racism across different continents, the topic of her new book. She travels to Germany and India to better understand the Nazi regime and the Dalit situation, respectively. Comparisons with segregation in the United States are analyzed. 

Despite noble intentions, this dramatization crumbles due to a disjointed, bumpy narrative. Rigid in the moves and broken in structure, Origin is turned into a film-lecture, whose content and ideas don’t really gel on the screen. More interested in a didactic presentation and in defending its point of view than being compelling, the film soon becomes erratic, displaying more heart than mind. Pathos and sentimentality are often potentiated by Kris Bowers’ mellow musical score. 

The message DuVernay aims to convey doesn’t come across clearly, and the results instead of reaching any state of maturation, feel merely superficial. It’s surprising how tame the film is, taking into account its weighty subject matter. Origin may be informative in some aspects but not to the point of making us remember it as a powerful statement.

Perfect Days (2023)

Direction: Wim Wenders
Country: Japan / Germany

Acclaimed German director Wim Wenders (Alice in the Cities, 1974; Wings of Desire, 1987; Paris Texas, 1984) returns to Japan - where he filmed Tokyo-Ga nearly 40 years ago - to shoot Perfect Days, a simple and endearing tale co-written with screenwriter Takuma Takasaki. Drawing inspiration from Ozu's filmmaking style, Wenders crafts a narrative characterized by nuanced circularity and a gentle pulse, offering a film that soothes the soul rather than warping the brain.

Koji Yakusho portrays Hirayama, a quiet and hardworking public toilet cleaner residing alone in Tokyo. Despite his solitary lifestyle, he finds joy in nature, photography, literature, and ‘70s rock music, cherishing the beauty in life’s little details. With a sweet shade of detachment from the real world, the humble Hirayama transmits the pure bliss of being thankful for everything he has, searching for beauty in every aspect of his daily routine. However, his tranquil existence is disrupted when his estranged niece, Niko (Arisa Nakano), unexpectedly pays him a visit, coinciding with tensions arising from his young assistant, Takashi (Tokio Emoto), who has fallen in love.

Yakusho delivers a pitch-perfect performance, carrying the weight of the narrative with ease, while Wenders approaches the story with a sense of politeness, eschewing flashy theatrics. Undeniably, the film's power lies in its restraint, opting for hopefulness over heartbreak and exuding a strange yet beautiful gentleness of spirit. Perfect Days unfolds with airy grace and poetic substance, masterfully composed in a minor key that never feels repetitive or aggressive in its narrative cycle. Not seeking to impress you, this amply generous and pure cinematic gesture will probably touch you in the heart.

The Zone of Interest (2023)

Direction: Jonathan Glazer
Country: UK / other

In The Zone of Interest, British filmmaker Jonathan Glazer, known for Birth (2004) and Under the Skin (2013), delivers his finest film to date, a loose adaptation of Martin Amis' novel that rightfully earns the accolade of Best International Feature Film at the Oscars. This visually arresting and original work centers around the diligent Auschwitz commandant Rudolf Hoss (Christian Friedel) and his wife, Hedwig (Sandra Hüller), who reside in their idyllic dream house adjacent to the concentration camp. Shot on location, predominantly with natural light, the film masterfully juxtaposes the serene family life of the couple with the harrowing reality of genocidal atrocities occurring just beyond their property fence.

The characters’ examination is done patiently and incisively within a narrative that doesn’t rely on explicitness to convey its message. The film’s opening scenes are evocative of Jean Renoir’s bucolic A Day in Country, only to swiftly confront the audience with a different reality: the banality of evil. This is done with such a discretion it becomes creepy. There’s family and well-founded dreams on one side, and then selfishness, privilege, and indifference on the other.

Polish cinematographer Lukasz Zal, who previously worked with Pawel Pawlikowski in Ida (2013) and Cold War (2018), contributes to the film’s visual allure with exquisite compositional finesse and meticulous attention to detail. His framing effectively captures the narrative's haunting atmosphere, punctuated by dreamy sequences in negative black and white that offer glimpses of compassion amidst the darkness. Despite these brief moments, it’s all very disturbing and fiercely unsentimental. 

The Zone of Interest isn't your high-octane WWII thriller, emerging instead as a spellbinding and unsettling meditation on personal dreams and silent crimes. It’s a powerful and memorable affair that, offering a different perspective of the Holocaust, may feel oppressive despite the absence of explicit violence. Benefitting from impressive performances by the pair of German actors, Glazer portrays this drama with the dazzling smoothness of a movie-making natural.

The Iron Claw (2024)

Direction: Sean Durkin
Country: USA

Having savored Sean Durkin’s previous directorial works - Martha Marcy May Marlene (2011) and The Nest (2020) - I eagerly anticipated The Iron Claw, his third feature based on a real story about a family of wrestlers. However, it proved to be a significant disappointment. Despite the weighty events it attempts to chronicle, the film's tone feels surprisingly light, resulting in a dismal execution that casts a shadow over its potential.

This American tragedy, transformed into a ludicrous pastiche, follows the inseparable Von Erich brothers, driven to wrestling stardom by their tyrannical and negligent father. While they left their mark on professional wrestling in the early '80s, the film questions the price paid for success. 

The Iron Claw compares to wrestling in the way that it’s all pose and artifice but no brains or integrity. In addition to overlong, the film lacks emotion at every turn, and the acting never impressed - Jeremy Allen White being the exception. 

Making matters worse, Durkin’s loss of direction in the sentimental last part of the film sinks the narrative deeper. Regretfully, The Iron Claw emerges as a slippery and inaccurate sports drama, failing to make a lasting impact. 

Dune: Part 2 (2024)

Direction: Denis Villeneuve
Country: USA

Clocking in at a substantial two hours and 46 minutes, the highly anticipated sequel to Dune proves to be a captivating and daring work that surpasses its predecessor. It stands as a pure marvel, leaving audiences speechless with cinematic qualities bound to linger long after the credits roll. 

Directed with ferocity by Denis Villeneuve, the film pushes the envelope with its gripping dark atmosphere, suspenseful hunts and ambushes, intricate rituals and prophecies, psychedelic imagery, and exhilarating fights set against magnificent backdrops. 

In this grandiose adaptation of Frank Herbert’s adventurous saga, Paul Atreides, portrayed with compelling depth by Timothée Chalamet, joins forces with the Fremen tribe, confirming his role as the prophesied leader they have been awaiting. His journey includes daunting challenges such as riding a giant sandworm - a scene described by the director as the most complex he has ever filmed - and facing off against the sadistic Baron Vladimir Hakkonen (Stellan Skarsgard) and his ambitious and ruthless nephew, Feyd-Rautha (Austin Butler). Amidst these trials, Paul also finds love with the rebellious Fremen warrior Chani (Zendaya), but their relationship is threatened by the uncertain fate of the universe.

While the film boasts elaborate storytelling, it never veers into indulgence. The incorporation of abstraction amidst its dense layers adds depth, while still delivering all the impact one would expect from a breathtaking sci-fi adventure. Hans Zimmer’s ominous gothic score further heightens the intensity of each scene, contributing to the film’s overall strength.

Dune: Part 2 stands as the apotheosis of Villeneuve's directorial signature within the sci-fi genre - a tremendous display of full-throttle filmmaking that mesmerizes with its clever stylization, unwavering attention to detail, and grandiose visuals. Sit back, relax, and immerse yourself in this unmissable epic space opera.