Monster (2023)

Direction: Hirokazu Koreeda
Country: Japan 

Hirokazu Koreeda (Nobody Knows, 2004; Shoplifters, 2018), an observant Japanese cineast with extraordinary capabilities, confirms his talent as an explorer of the intimate, capturing adolescence, friendship, and family with incisive intelligence. Fascinating in its maturity and storytelling, Monster is a fascinating and mature storytelling experience that provides an involving and exhilarating journey, shaking the audience by surprise and offering a nuanced understanding of reality.

The meticulously constructed tale, written by Yuji Sakamoto (the first not written by Koreeda since his 1995 debut feature Maborosi), revolves around characters such as an overprotective single mother (Sakura Ando) who refuses to hold back emotions, her only son (Soya Kurokawa) who starts acting strangely erratic, his lonely classmate (Hinata Hiiragi) stigmatized by an alcoholic father, and a young teacher (Eita Nagayama) accused of misconduct. The narrative also involves an ineffectual school principal (Yuko Tanaka) deeply affected by a tragic accident. 

This infinitely touching moody tale unfolds with some unfathomable secrets and torments that progressively dilute into transparency. At first very sad in the disconsolate aura that underpins it, then very strange and bemusing, and suddenly very inspiring. In truth, every dose of discomfort will seep into your skin but, if you’re an optimistic, don’t get desperate because Koreeda pulls a rabbit out of the hat with magical refinement.

The film shapes as a provocative, thoughtful, sometimes minimalist dramatic fresco, deliberately illusive in structure and narrative. Nothing is taken for granted, and, all of a sudden, darkness can turn into light when we’re given a different perspective. Koreeda’s masterful control and the compelling performances of a multigenerational ensemble cast elevate the emotions. The late master composer Ryuichi Sakamoto's piano-driven score further intensifies the experience. Monster stands as a product of compelling filmmaking.

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.

Palm Trees and Power Lines (2023)

Direction: Jamie Dack
Country: USA 

The first feature from writer-director Jamie Dack, an uncomfortable coming-of-age drama cutely called Palm Trees and Power Lines, takes its time to compellingly tell the story of a 17-year-old girl who begins a treacherous relationship with a man twice her age. The script, co-written with Audrey Findlay, is an expansion of Dack’s 2018 short film of the same name.

Lea (Lily McInerny), 17, can’t really open up to her distant single mother (Gretchen Mol), spending the summertime hanging out with friends of her age. But not even occasional sex can pull her out of boredom. This is until, she meets Tom (Jonathan Tucker), a 34-year-old man who acts shifty but seems to understand her problems. What are the real intentions of this stranger? 

The story attains a sinister emotional vortex after Dack, never heavy-handed in her observations, portrays the blithe excitement of a rose-colored romantic discovery. There are two distinct halves: a more casual one that defines the characters and their milieus, and a tenser, grim last fraction that leads to a sad conclusion. The rawest scenes are stretched out with no music score, reaching a serious level of verisimilitude.

The well-acted Palm Trees and Power Lines is not perfect but frankly impressive. It succeeds in plunging us into the psyche of a teenager, and does it with captivating introspection. Being a movie of an invisible violence and loneliness, it not only packs a punch, but made me actively want to punch the movie characters, whether for their startling naivety or creepy perversion.

Falcon Lake (2023)

Direction: Charlotte Le Bon
Country: Canada / France 

Falcon Lake is a successful adaptation of Bastien Vivès’ 2017 graphic novel Une Soeur by Canadian actor-turned-director Charlotte Le Bon. She moved the original story from Ile aux Moines in Brittany to Quebec, and shot a sweet, endearing tale of teenage love and ghosts in 16mm. 

We can almost smell the air of summer, when the extroverted 16-year-old Chloé (Sara Montpetit) and the timid Bastien (Joseph Engel), who is about to turn 14, wander in the surroundings of the remote lake cabin where their parents took them to spend the vacations. Whereas the former smokes, drinks, and dances with friends in parties, the latter is still locked in his teenage shell. Both will experience the excitement, anxieties and frustrations of an immature first love, and deal with the natural dilemmas that arise from there. 

With the collaboration of François Choquet on the screenplay, Le Bon signs a remarkable first feature that feels acutely genuine and unique. Demonstrating a charming sense of storytelling, she directs the young actors with confidence, assuring that the story subtly progresses with a sensitive and melancholy atmosphere. 

This sort of works like an ode to that time in our lives when we still paid more attention to impulses than consequences. The talent of the young actors is obvious as they reflect teen life and confused feelings with impressive accuracy. In recent times, rarely the patterned behaviors of this age have been so well embodied in a coming-of-age drama that, in this case, is mildly stimulated by an understated supernatural dimension.

Are You There God? It's Me Margaret (2023)

Direction: Kelly Fremon Craig
Country: USA 

Adapted from Judy Blume’s controversial middle-grade novel from 1970, Are You There God? It’s Me Margaret follows Margaret Simon (Abby Ryder Fortson), a lovely, curious and perceptive 11-year-old who reluctantly moves from New York to New Jersey with her affectionate parents, Herb (Benny Safdie) and Barbara (Rachel McAdams). The former comes from a Jewish family, whereas the latter was raised in an extremist Christian environment. This factor creates a dilemma for Margaret who decides not to follow a religion until she tries them out by herself and reaches a conclusion. Still, she has daily  talks with her ‘God’ whenever a concern emerges.

Other than that, she experiences the bliss of being kissed for the first time, the excitement of a real crush, bursts of anger when things don’t go as planned, disappointment with friends, impatience and excitement when facing or not facing the physical changes of puberty, repentance when doing wrong, and some family surprises. 

This sweet, tender and feel-good coming-of-age comedy hits a few spots. But it has more than that; it is educational, bright in tone, and a victory in portraying a lovely character going through a strange phase in life. The director of The Edge of Seventeen (2016), Kelly Fremon Craig, captures all this with that rare trick of being both intelligent and amusing. Moreover, her script induces the right pace and makes the most of the young actors’ spontaneity - especially Fortson and Elle Graham who give sensational performances. 

Considering the numerous traps associated with the material, this brave, funny leap into womanhood and religious consciousness stands in good stead.