The Count of Monte Cristo (2024)

Direction: Matthieu Delaporte, Alexandre de La Patellière
Country: France 

For their third feature film, French filmmakers and screenwriters Matthieu Delaporte and Alexandre de La Patellière take on Alexandre Dumas’ classic The Count of Monte Cristo, a sweeping tale of love, tragedy, and revenge.

With its meticulous period details, lush settings, and an old-fashioned approach to storytelling, this grand production delivers visual flair but falls short in generating excitement, suffering from a lack of surprises. While this tame, three-hour adaptation replaces some characters and unfolds with formal, somewhat academic staging, it nonetheless secured a strong position at the French box office.

Pierre Niney (Frantz, 2016; Yves Saint Laurent, 2014) is appropriately earnest as Edmond Dantès. Wrongfully imprisoned and later escaping from a remote island prison, Dantès orchestrates a calculated revenge against the three men—Danglars, Gérard de Villefort, and Fernand de Morcerf—who destroyed his life. 

It’s a constant battle between polished images and undramatic sequences that could be better matured. Still, there's still something to ponder about the vengeful Count tale that's worth pondering. If nothing else, this adaptation serves as a nostalgic reminder that, on occasion, they still make movies like they used to.

My Old Ass (2024)

Direction: Megan Park
Country: Canada

Megan Park’s sophomore directorial feature, My Old Ass, is a refreshingly spontaneous coming-of-age comedy that captures the vibrant, messy tapestry of teenage life with authenticity and warmth. At the heart of the film is a breakout performance by Canadian singer and actress Maisy Stella, making her feature film debut after her time on the musical television series Nashville.

Stella is Elliott, an 18-year-old who, during the course of a mushrooms trip, has contact with her 39-year-old self (Aubrey Plaza). What begins as a quirky exchange of life advice quickly becomes a heartfelt exploration of self-discovery, as Elliott grapples with the rebelliousness of youth and the unpredictable outcomes of love. 

Sweet but not cheesy, the film stands out for its originality and relatable charm. While it may not reinvent the teen rom-com genre, it handles themes like sexual orientation with a light, natural touch, brimming with hopefulness, self-discovery, and a sense of wonder about life and love.

Park, who impressed audiences with The Fallout in 2021, opts for simplicity, focusing on genuine human connection. This approach succeeds largely due to the chemistry of her leads, with Stella’s Elliott beautifully complemented by Percy Hynes White’s performance. My Old Ass is a gutsy and endearing ode to youth, a well-crafted tale of living life to its fullest and confronting the inevitable fear of loss. It’s an enjoyable, life-affirming watch that will leave you smiling, even if its charm is more fleeting than indelible.

Conclave (2024)

Direction: Edward Berger
Country: UK / USA

From Andrew Berger, the German director behind the multi-award-winning anti-war epic All Quiet on the Western Front (2022), Andrew Berger, comes the more subdued Conclave. This religion-themed thriller, penned by Peter Straughan and based on Robert Harris’ 2016 novel, delves into the shadowy world of Vatican politics. Ralph Fiennes takes the lead as Cardinal-Dean Thomas Lawrence, a man grappling with a personal crisis of faith while tasked with overseeing the papal conclave following the pope's sudden death.

As the slow and ritualistic process of selecting the new leader of the Catholic Church unfolds, Lawrence encounters a web of secrets, conspiracies, prejudice, and ambition. Among the candidates vying for the position, one figure stands out: Vincent Benitez (Carlos Diehz), a little-known Mexican archbishop stationed in Kabul, whose presence stirs unease and curiosity among the cardinals.

Cocooned in gravitas and profound doubt, Conclave thrives on the nuanced performances of its  seasoned cast. Fiennes, for example, not only chews the scenery but savors it, as he expresses deep concern about the future of the church with Stanley Tucci and Isabella Rossellini offering strong supporting turns. 

Although not particularly groundbreaking in its clash of modernity and tradition within the Church, the film at least never commits the deadliest sin in cinema: boredom, providing enough good material to keep its iniquitous fires burning. Yet, this gun-free thriller—effectively blending faith, tradition, and politics—could have been even more gripping if infused with more scandal, intrigue, and mystery. Ultimately, your enjoyment of Conclave may depend on your perspective on its themes.

Separated (2024)

Direction: Errol Morris
Country: USA 

After reading Separated: Inside an American Tragedy by journalist Jacob Soboroff, acclaimed documentarian Errol Morris (The Thin Blue Line, 1988; The Fog of War, 2003) was compelled to adapt it into a film. The documentary tackles the Trump administration’s ‘zero tolerance’ immigration policy that led to the traumatic separation of migrant parents and children. The resulting film is informative but not particularly engaging, blending interviews with an arguably unnecessary fictionalized depiction of a Guatemalan mother and son’s border crossing, played by Gabriela Cartol and Diego Armando Lara Lagunes.

Soboroff is featured in the film as well as former major figures at the Office of Refugee Resettlement, Cptn. Jonathan White and Scott Lloyd. White’s assertive critique contrasts starkly with Lloyd’s visible discomfort, underscoring the policy’s damaging impact. Due to extended media coverage, most of the details feel overly familiar, and yet it effectively captures the policy’s inhumane implications, serving as a sobering reminder of the need for accountability.

Separated is cleanly arrayed but feels somewhat timid as a terrifying wake-up call that makes us want a better America. Though not groundbreaking, this political documentary tells us we all need to demand more from our politicians, advocating for a more compassionate solution.

Bookworm (2024)

Direction: Ant Timpson
Country: New Zealand

The lighthearted comedy Bookworm offers a delightful father-daughter adventure set against the lush wilderness of New Zealand. Directed by Ant Timpson with a screenplay by Toby Harvey, the film follows 11-year-old Mildred (Nell Fisher), a witty, sarcastic bookworm, and her estranged father Strawn Wise (Elijah Wood), a washed-up American illusionist who arrives to care for her after her mother is suddenly hospitalized. Together, they embark on a camping trip to track down the legendary Canterbury Panther. 

Set against scenic landscapes, Bookworm brings feel-good charm and beautiful visuals. While it could have leaned more into its quirky potential, and though some scenes feel slightly off and the finale a bit forced, the film maintains solid family-friendly appeal and leaves viewers with a warm sense of happiness. Surprisingly impish, it’s an adventure comedy with more good moments than missteps.

Afloat (2024)

Direction: Aslihan Unaldi
Country: Turkey 

This well-crafted drama written and directed by debutant Aslihan Unaldi has its flaws but remains engaging. An intimate, unsettling look at Turkey's bourgeoisie, the film explores family dynamics with a script that provides just enough clarity to hold the viewer's interest.

The story centers on New York-based Zaynep (Nihan Aker), an aspiring documentarian, who arrives in a small coastal Turkish town to spend some family time with her divorced parents (Lila Gürmen and Serhat Ünaldi) and younger sister (Elit Iscan). She brings her protective American husband, Stephen (Oscar Pearce), with her. The confined spaces and limited privacy on the boat play a role here, enhancing tensions in a low-key chamber piece that, never really boiling, generates a subtle intrigue. 

The film seems compassionate to, and appreciative of, the people it chronicles, showing a somewhat vague if curious political side that characterizes contemporary Turkey. Much of the action unfolds naturally, steering clear of the melodrama that often dominates family narratives. Unaldi’s unobtrusive filmmaking style shows promise, and the female cast members deliver particularly compelling performances.

The Substance (2024)

Direction: Coralie Fargeat
Country: USA

Coralie Fargeat’s sophomore feature, The Substance, is set to be hailed as the shock film of the year. A grotesque blend of body horror with sharp satirical overtones, it escalates in bizarre intensity until it reaches the brink of madness.

The film stars Demi Moore as Elisabeth Sparkle, an aging TV star who injects a miraculous substance designed to unlock her DNA, creating a younger, more beautiful version of herself. That version is played with mischievous charm by Margaret Qualley. However, Sparkle fails to adhere to the crucial condition—switch bodies every seven days—and struggles to comprehend the delicate balance needed for both versions to coexist.

The pumped up narrative swirls us up in this woman's obsession, invoking the transgressive and visceral visual traits reminiscent of David Cronenberg and John Carpenter. At its best, the film maintains a tense and unnerving atmosphere, but just as it has you on the edge of your seat, it spirals into gratuitous violence and excessive gore.

Fargeat's creation is undeniably horrific, but she pushes it too far, especially in the final act. The relentless gore feels less like a narrative necessity and more like a transgressive indulgence, ultimately undermining the careful creepiness that initially made it gripping. The last section is so filthy and exaggerated that it risks alienating viewers, leaving one to wonder why the director chose to tarnish what could have been a chillingly effective film.

The Substance is nauseating but undeniably powerful, shocking yet audacious. It’s an outrageously bloodthirsty dark fantasy that demands a strong stomach. Had Fargeat reined in the excess, it could have been a standout horror. Nevertheless, both Moore and Qualley deliver striking performances.

Kneecap (2024)

Direction: Rich Peppiatt
Country: Ireland / UK

Kneecap is an ebullient, schizophrenic biopic about the Belfast-based hip-hop trio of the same name, which unexpectedly became the symbol of a civil rights movement dedicated to preserving their native language. Written and directed by Rich Peppiatt, the film thrives on the impetuosity of the rappers—Liam, Naoise, and JJ—their energetic music, anarchic irreverence, and the politically charged atmosphere of Northern Ireland. Though the film occasionally wavers between authenticity and promotional flair, it delivers enough sharp moments and humor to keep audiences engaged. 

While the true story is refreshingly original, the film’s sensationalist execution—marked by a fast editing and bouncing rhythm—feels like a pastiche of Trainspotting (1996) and 8 Mile (2002), with a dash of Guy Ritchie’s gangster flair thrown in the mix. Despite leaning on a familiar formula and evoking a sense of déjà vu, there’s a palpable passion driving the project. This gritty urban narrative brashly entertains, capturing the rebellious spirit of a trio criticized for glorifying drug use, anti-social behavior, and violence in their lyrics. As they pursue success, they must navigate opposition from Ulster-loyal police, politicians, and dangerous paramilitary groups. Without breaking new ground, Kneecap effectively captures the spark and controversy surrounding the group.

How to Make Millions Before Grandma Dies (2024)

Direction: Pat Boonnitipat
Country: Thailand 

The intergenerational comedy drama How To Make Millions Before Grandma Dies is a temperate charmer, though it wrestles with some predictability in its plot. Directed and co-written by 34-year-old filmmaker Pat Boonnitipat in his feature debut, the film manages to strike an emotional chord while maintaining a light touch. The narrative centers on M (Putthipong "Billkin" Assaratanakul), a college dropout and compulsive gamer with a tendency to squander money. He volunteers to care for his 79-year-old grandmother (Usha "Taew" Seamkhum), who is dying from stomach cancer, but his motives are questionable from the start.

Despite uneven, the film delivers a feel-good experience, offering a sober and bittersweet reflection on family relationships. It can be quite mellow in spots but definitely not choppy, celebrating cranky grandmothers with big hearts and fierce independence. Even in its most painful moments, How to Make Millions retains a sense of gentleness, thanks to an accumulation of small details—both sad and funny—that make the characters relatable and endearing. Seamkhum, in particular, delivers a standout performance, grounding the film in authenticity. 

It’s not hard to guess where the story goes, but this Asian neo-realist effort sincerely acknowledges the sadness of being near death with both heartbreaking and heartwarming gestures. Boonnitipat makes an unabashedly sentimental move with an irresistible sweetness.

Oddity (2024)

Direction: Damian McCarthy
Country: Ireland

Oddity, a slow-blooming portrait of doomed love, immediately thrusts its audience into a realm of disquiet and discomfort. With a Hitchcockian mood and tone, the film itself is a cinematic oddity, playing well with symbolism and emotions but failing at cohere completely.  

Surreally mounted and beautifully shot, Oddity follows Darcy Odello (Carolyn Bracken), a blind token-objet reader woman and antique shop owner who decides to investigate her twin sister’s murder one year after it happened. Armed with a mysterious wooden figure, she stays at the country house where her sister was killed, allegedly by a former patient of her psychiatrist husband, Ted Timmis (Gwilym Lee). 

Without straining to make an obvious point, the director Damian McCarthy (Caveat, 2020) builds tension as we keep gaining interest, teasing before delivering a few well-placed chills. His proclivity for the horror genre is no fluke, but his sophomore feature is one to be savored for its atmosphere than remembered for its impact. Oddity unfortunately culminates in a bland, disappointing finale, one that is more amusing than spooky. While the film doesn't totally click on all fronts, there is enough darkness in its DNA to satisfy enthusiasts of the genre.

In Our Day (2024)

Direction: Hong Sang-soo
Country: South Korea

Korean director Hong Sang-soo's 30th feature, In Our Day, is a breezy, minor effort that may not be particularly thought-provoking but is deeply explorative of life and art. With his trademark understated style, Hong once again embraces simplicity, allowing the melancholy undertones of the film to ebb and flow without pointing toward any specific destination.

In Our Day seems to carry an autobiographical touch, presenting two parallel stories that involve established artists and their younger admirers, who are curious about their careers and perspectives. The film’s naturalistic staging, dialogue, and human interactions lean toward minimalism, yet there are subtle but significant details woven throughout. It’s a double moral tale that gets the form of a plotless slow burn, stripped of complexity and anchored by serene performances from an ensemble cast that makes it as breezy as a stroll in Central Park. 

Hong himself frames the film with meticulous attention to image composition, adding a layer of visual care that compensates for the film’s modest ambitions. In Our Day may not be mind-blowing in its ideas, but it radiates warmth and gentle humor. It's a human and occasionally touching film, though it demands patience from viewers, asking them to find pleasure in the small moments and connect with its characters, a task that may not always come easily. 

Ghostlight (2024)

Direction: Alex Thompson, Kelly O'Sullivan 
Country: USA

Ghostlight, set in Chicago, is an intimate drama that delves into themes of family, loss, art, and healing. Directed by Alex Thompson and Kelly O’Sullivan, the film stars Keith Kupferer, Katherine Mallen Kupferer, and Tara Mallen — a real-life father, daughter, and mother trio who portray the same familial roles in this fictional account.

Dan (Keith Kupferer), a stressed out construction worker, finds himself reluctantly drawn into a local theater company by middle-aged actress Rita (Dolly de Leon). The group is rehearsing Shakespeare’s Romeo and Juliet, a tragedy that stirs painful memories of Dan’s own personal loss. Yet, the chance to escape into another character's life might be exactly what he needs to begin healing. 

The film manages to sustain tension, though it occasionally undercuts itself by resolving conflicts too swiftly. Without trivializing the emotions involved, the filmmakers craft a poetic melodrama that doesn’t strive for perfection but rather for honesty, offering moments of piercing observation. The scope of the plot actually widens with the theatric representation, an emotional expression that further fuels the narrative. 

Ghostlight confronts viewers with a keen understanding of the cracks that emerge in people over time as they wrestle with grief and the mysteries of life. The movie denotes a bit of formula and calculation as the directors put out a play for us — so, if you’re looking to be wowed, this may not do the trick. With that said, I still believe it’s worth checking out just for its newfound parallels and poignant exploration of human emotions.

Babes (2024)

Direction: Pamela Adlon
Country: USA

Actress turned director Pamela Adlon makes her directorial feature debut with Babes, a quintessential New York comedy centered on motherhood and female friendship. While not a revolutionary tale, the film draws its strengths from fine performances, side steps, juicy details, and broken of taboos.

The story follows Eden (Ilana Glazer), who unexpectedly becomes pregnant after a one-night-stand, and her long-time best friend, Dawn (Michelle Buteau), who is married and has just had her second child. Tensions between the nearly inseparable pair escalate to a frantic boil, exacerbated by the emotional fluctuations and frustrations of being a mom. 

Though the catalogue of family troubles and various conflicts is familiar, the film is humanely observed and profuse on witty banter. The dialogue is fast and pungent, and the pacing is suave, all delivered with a good heart. Even the most clichéd moments can feel emotionally true in this lighthearted film, which, despite its faults, tries to march to a different drum than the most of Hollywood comedies.

Babes might not be as funny as some have claimed, but focuses on how these two friends rely on each other and grow through life's blessings and adversities. It’s an entertaining film aimed at adults.

Sisi & I (2024)

Direction: Frauke Finsterwalder
Country: Germany / Austria / Switzerland 

The fourth feature by German director Frauke Finsterwalder, Sisi & I, is a work of fiction inspired by historical reality. Co-written by Finsterwalder and Swiss author Christian Kracht, the film centers on the relationship between Empress Elizabeth of Austria, a.k.a. Sisi, and her last lady-in-waiting, the Hungarian Countess Irma Sztáray. 

Late in the 19th century, Irma (Sandra Huller) travels to the Greek island of Corfu to serve the reclusive, sometimes jubilant, sometimes moody, but often manipulative Empress (Susanne Wolff), overwhelmed by the demands of her duties. Desperate to avoid returning to court, Sisi’s constant fight against boredom is eased with cocaine elixirs, the occasional visits of her free-spirited friend, the Archduke Ludwig Viktor (Georg Friedrich), and her special bond with Irma. Yet, intense depression soon interferes with her leisure life.

Not as dynamic and provocative as Marie Kreutzer’s Corsage (2022), which explores similar territory, Sisi & I strikes a balance between the classic and the modern, especially through the sets and the anachronistic soundtrack - the charm of Portishead’s trip-hop gem “Glory Box” inundating the opening scene is undeniable. 

In her unflashy version, Finsterwalder chooses a common route, staging the story in her own terms and bringing some curious details into the fold. She makes a gracious, if occasionally tedious, effort to portray two frustrated women, modern for their time, who find refuge in a singular friendship. Despite its unevenness and tonal fluctuations, the film unpacks a feminist manifesto on power, sexuality, independence, allegiance, and sometimes cruelty. The sharp cinematography by Thomas W. Kiennast and the costume design by Tanja Hausner are assets, but the well-groomed film itself is a minor vehicle to deliver Huller's sober but firm performance. 

Love Lies Bleeding (2024)

Direction: Rose Glass
Country: USA

Directed by Rose Glass, the director of the critically acclaimed Saint Maude (2019), Love Lies Bleeding is a muscular and psychologically probing feminist thriller with a 1980s look and neo-noir moods inspired by films like The Wrestler (2008), Bound (1996), and Crash (1996). Working from a script she co-wrote with Weronika Tofilska, Glass manages to achieve a fulfilling narrative arc anchored by surprisingly complex performances and a surreal tinge that works both for and against the film.

This is the type of cynical crime entanglement where everyone is implicated in some sort of scheme. It is centered on the ardent lesbian romance between a lonely gym manager, Lou (Kristen Stewart), and a promising bodybuilder, Jackie (Katy O'Brian). Love conquers all, but the atmosphere in town is heavy, potentiated by vindictive characters with destructive emotions and actions that often lead to violence and death. 

The film’s primal instincts are nihilistic and brooding, but it’s not short of ideas. The finely honed script plays like a greasy bucket-load of uninhibited dirtiness through its rougher patches, and I mean that in the nicest possible way. Stewart and O’Brien have a palpable chemistry, while Ed Harris is phenomenal as Lou’s creepy father, an arms dealer with influential connections to the local police.

Glass’ sophomore picture is not as masterfully visceral as Saint Maude, but the rising filmmaker reveals herself as a gifted portrayer of emotional intimacies and wrenching acts of violence.

Problemista (2024)

Direction: Julio Torres
Country: USA

Problemista is the directorial feature debut by Salvadoran-American Julio Torres, who embraces fantasy to tell the story of Alejandro, an aspiring toy maker from El Salvador who struggles to keep working and living in New York. Torres himself portrays the main character.

After losing his job as an archivist for FreezeCorp - a company specialized in freezing terminally ill humans to be awakened at some point in the future - Alejandro desperately finds a new sponsor for his work Visa and easy gigs on Craigslist to stay afloat. The solution is Elizabeth (a red-haired Tilda Swinton in top form), a neurotic, washed-up art critic whose painter husband (the rapper RZA) has been frozen.

The film flows stonily, with an offbeat vibe that often seduces, yet the wittiness is not a constant, working intermittently. The film is stronger on the dramatic side, with its best moments tapping into a sadness and disappointment with the world that most people will relate to. Swinton’s unbeatable delirium is a perfect foil for Torres’ apathetic confidence in a well-acted surrealist comedy whose main strength is the mood. 

Problemista is only partially satisfying and easy to overlook, but hope is its last word - even if it means achieving things forcibly - and some aspects addressed are so true that they stay with you. It surely could have been better, but this is still a positive debut for Torres, who hired Isabella Rossellini as the film’s narrator.

The Vourdalak (2024)

Direction: Adrien Beau
Country: France

With The Vourdalak, newcomer filmmaker Adrien Beau draws inspiration from Alexei Tolstoy’s short story, creating an exhilarating celebration of the gothic style. Despite the low budget, the director lets his imagination soar, crafting a human-seized puppet to represent the vourdalak, a sort of proto-vampire that spares not even his own family. He also gives voice to it.

The story follows the inquisitive Marquis Jacques Antoine Saturnin d’Urfé (Kacey Mottet Klein), a noble emissary of the King of France, who loses his way in the woods after being attacked and robbed by bandits. He finds refuge with a strange, cursed family. 

The director and cast waltz through this sinister tale with bizarre, ritualistic steps. The minimalist decor, complemented  by effective cinematography, creates an atmosphere reminiscent of another time, moving between eerie medieval mysticism, patriarchal dominance, and ridicule. However, the film's theatrical staging leaves uncertain whether it aims to be a campy homage to cult vampire black comedies or a nightmarish horror odyssey. 

Retractable fangs fail to deliver a significant bite, resulting in an outrageously fascinating failure that could have been a laugh riot. Enthusiasts of mysterious old tales and legends can go for it, but they’ll have to adapt to and accept this peculiar aesthetic, which can sometimes be coarser than expected.

Furiosa: a Mad Max Saga (2024)

Direction: George Miller
Country: Australia

Furiosa: A Mad Max Saga is the fifth installment in the Mad Max franchise and a prequel to Mad Max: Fury Road (2015), exploring the early life of Imperator Furiosa. Anya Taylor-Joy plays the title character with passionate commitment, bringing to life a new heroic figure in Gorge Miller’s post-apocalyptic universe. Kidnapped by wild motorcyclists, Furiosa falls into the hands of warlord Dementus (Chris Hemsworth) before left at mercy of another tyrant, Immortan Joe (Lachy Hulme). As she grows up, revenge becomes her sole focus. 

Miller does not reinvent the wheel here, and the film is not entirely satisfying. However, a few sequences may leave you holding your breath. Despite CGI imagery increasing artificiality - some scenes resemble Dantesque animated sequences - the action surpasses the basic plot. This cult-film venture oozes blood, motor oil, and biter tears in an incessant chaos set against desert backdrops. I'm just worried it's not good enough considering its potential.

Bouncing around to sometimes memorable effect, the film only soars intermittently, amassing tension ahead of a climax that might feel underwhelming. It’s consistently caustic and dynamic, although never outright challenging.

Shayda (2024)

Direction: Noora Niasari
Country: Australia

Noora Niasari's Shayda delves into a compelling drama that draws from the Iranian-Australian director's own childhood experiences. Executive produced by Cate Blanchett and featuring Zar Amir Ebrahimi - the protagonist of Holy Spider (2022) - as the title character, the film centers on a young Iranian mother fighting for custody of her six-year-old daughter (Selina Zahednia) in Australia after enduring years of domestic violence. Seeking refuge from the aggressor, Hossein (Osamah Sami), mother and daughter find shelter in a women’s refuge.

The topic is greater than the film, which, unfolding with honesty, exposes patriarchal issues in Iranian society with familiar tones while carrying a universal appeal. An unremitting sense of anxiety pervades the realistic scenes, constantly charmed by Ebrahimi’s strong presence. 

Shayda may feel a bit clunky in places but that can't stifle the sheer force of the emotion it evokes. Niasari's admirable feature debut serves as a tribute to her mother and all the courageous women of Iran.

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.