By Roger Costa
AMMONITE ⭐⭐⭐⭐
Kate Winslet nails a masterly crafted character study in this sensual and lyrical observation on a lesbian affair set in Victorian England. Building up a complex, strong and silently anguished lonely woman working the fossils she finds at a remote beach, Winslet remarkably reaffirms her star-power and should score an Oscar nomination for such dedication. Living quietly alongside with her ill mother and working on considerably big projects for prestigious Museums in London, her distraction comes one day in the form of a scientist who insists on learning from her, accompanied by his young grieving wife. When he leaves for an assignment, these two women suffering from different traumas, are left alone, developing an intimate, co-dependent relationship that rapidly leads to an incendiary and torrid romance.
Director Francis Lee’s sophomore feature has his unique, semi baroque mark brilliantly evolving on it, as he conducts the ambiguous material with excellence. Such skillful storytelling announces him as a new auteur. The sense of melancholy is elevated by Winslet’s profoundly enigmatic presence, especially in long close-ups that mirrors her imprisoned emotions. Again, it’s a glamour of an acting work, something really touching and unforgettable, sort of an intersection between Nicole Kidman in “The Hours” and in Holly Hunter in “The Piano”.
On the other hand, there’s Saoirse Ronan, the most talented and courageous actress of her generation, exceeding in bravery and nuance, showing a provocative side of her limitless potential, as the young lady longing for personal and maternal fulfillment and pleasure.
Sensitive, arrestingly observed and executed as a mysterious, seductive painting, Lee crafted an over the top film: intensely erotic, sophisticated romance, two Oscar-caliber performances and an efficient display of women’s liberation and personal achievement. Bravo!
(NEON. 12/4. On VOD and Digital Platforms.)
YALDA- A NIGHT FOR FORGIVENESS ⭐⭐⭐⭐
Influenced by the aesthetic of Oscar winning filmmaker Asghar Farhadi, this sensational thriller depicts the turbulence and horrors in Iran’s justice system, and how it is rooted in its religious beliefs. In a claustrophobic setting, the film develops as a smart social and moral tale, where a popular Live TV show named “The Joy of Forgiveness” serves as a place for forgiving women who had been convicted of murderous crimes and are sentenced to death. A national celebration of winter solstice, the anxiety, preparations and expectations of Yalda’s night are reflected on the show’s latest attraction, a case involving a young pregnant woman who accidentally killed her much older rich husband, and now seeks the forgiveness of her late husband’s daughter. The cameras witness everything with fast paced preciseness, unexpected details, and a frenetic tension: from the Live scenario seen through the audience’s perspective to the conflicts and social fears displayed backstage, formed by both the crew and the unsettling guests, as well as the public’s reactions. Such aesthetic, and individual observations on its players, creates an important scenario to analyze human justice, its flaws and failures, and how we, as citizens entitled to the same rights, react and automatically judge such cases. It also addresses the importance Iranian culture gives to religious principles such as love, forgiveness and acceptance, despite its cruel death row system, the role of media, such as its manipulation, depiction of reality and influence over national opinion.
Tehran-born Writer-Director Massoud Bakhshi’s sophomore feature is an impressive account on righteousness, religious traditions and the never-ending conflicts and oppression faced by women’s rights in the country.
Winner of the Grand Jury Prize World Cinema at this year’s Sundance Film Festival, “Yalda” brings powerhouse performances from its highly efficient female driven cast, and will keep you on the edge of your seat throughout the entire film with its unexpected twists and scandalous revelations. An intensely crafted, impeccably designed and executed courtroom-style drama.
(Film Movement. 12/11. In Virtual Cinemas.)
RED, WHITE AND BLUE ⭐⭐⭐⭐
Since his breakthrough performance in “Attack the Block”, actor John Boyega was destined to be one of our most iconic contemporary screen heroes. It only took a few years for Hollywood to call, giving him the spotlight in the “Star Wars” series, elevating his status to the A-list.
Now, helmed by Steve McQueen, Boyega has the chance to explore his dramatic potential with a role that fits like perfection on him: a revolted and naïve police officer navigating racism within his precinct. Here he proves to be ready for great challenges coming from great cinematic visions.
The third part in the acclaimed “Small Axe” 5-films event conceived by McQueen on the British-Caribbean experience with interracial conflicts, centers on the true story of Leroy Logan, extraordinarily played by Boyega, who decides to become a policeman after witnessing his father being assaulted by two officers of the Metropolitan Police.
His strong leadership personality will face many obstacles to adjust to the racist system, as he struggles to convince the evil in his colleagues’ attitudes and brings a more familiar approach to the community. Co-written by Courttia Newland and director Steve McQueen, the immersive narrative brilliantly focuses on Boyega’s determination for changing the internal racial turmoil, standing up for morals and virtues, resulting in a sincere statement about believing in the transformative power of hope.
(Amazon Studios. 12/4. On Amazon Prime.)
Comments