By Roger Costa
SOVEREIGN
Nick Offerman finally gets the role of a lifetime, one he certainly deserves, which fits him well and he masterly embodies with perfection. In Christian Swegal’s accomplished and utterly tense feature debut, Offerman confirms himself as one of America’s leading performers, devouring the provocative role of Joseph Kane, a schizophrenic single father who follows the beliefs of an Anti-government extremist system called Sovereign. Whether on TV or cinema, or doing stand-up comedy, Offerman is among this generation’s most notorious and complete actors.
Based on real facts, director Swegal injects a propulsive tension and uncertainty into the narrative, resulting in a gripping atmosphere where danger and tragedy are imminent. Its main focus is on the complicated relationship between the intensely distrusted and heavily armed father and teenage son Jerry (a knockout performance by Jacob Tremblay) as they travel across the country delivering seminars to small communities. Swegal adds a subplot about another father/son relationship that will later connect to the main story: Dennis Quaid plays a proud Police Chief in the process of shaping his son to become a successful officer, as well as guiding him on his fatherhood decisions. The director never loses pace or coherence on the double depiction of fatherhood conflicts and morals, studying both sides with the same precision and giving them different tones and approaches. The filmmaker’s decision only enhances the qualities this audacious thriller carries with.
Fast paced, unpredictable, and terrifyingly reflecting our current political measures, Swegal scores one of this year’s most assured debuts.
(Briarcliff Entertainment. 7/11. Cinema Village.)
WILD DIAMOND
Looking at the addicting and exhaustive culture of beauty, stardom, social media and plastic surgery, writer-director Agathe Riedinger’s efficient drama is an essential addition to the “Substance” success-trend minus the horror elements. Though there’s an anxious sense of something is about to happen throughout the narrative, Riedinger’s film never shifts genre or bends to gore, and is crafted as an emphatic, vibrant and very dramatic coming of age character study. The similarities to Demi Moore’s flick are the obsessive pursuit of beauty and fame of the protagonist, a 19-year-old impulsive and lawless influencer who would do anything to acquire those, including selling her soul according to her own words. Instead of getting into supernatural terrain, she engages herself in dangerous situations, such as stealing from shops and offering to dance herself to rich men. First time actress Malou Khebizi is a tour de force as Liane, a young, lost and fragile woman in search of identity and meaning. Her tumultuous relationship with her mother doesn’t help but forces her to hope for changes and liberation. Her chances may come when she receives a casting call offering her an opportunity to be part of a very popular reality show. That becomes the center of her world and actions, and she totally loses it, hoping to be the one picked for the show, all while hiding her feelings, confronting her mother’s decisions and trying to connect to a local boy.
Director Agathe Riedinger crafts a terrific coming of age story, a convincing dramatic tale about the superficiality and banality of social media culture and how it affects young girls seeking the perfect body and a role model. A competition selection at last year’s Cannes and nominated for the Cesar Awards for Best First Film, it is precisely vivid, humane and affecting. One of this year’s best!
(Strand Releasing. 7/11. IFC Center.)
WE ARE GUARDIANS
A timely and very important eye-opening doc on the struggle of Indigenous people to protect and preserve the Amazon, directors Edivan Guajajara, Chelsea Greene, and Rob Grobman deliver a must-see film that serves as a call for action. Looking at all sides of the problem, political, social and ecological, and exploring their motivations with empathy (guardians Marçal Guajajara and Indigenous leader Puyr Tembé, illegal logger Valdir and other farmers), the directors brilliantly capture the core while demonstrating hope and respect for the people and the Forest. Oscar worthy!
(Opens 7/11. Village East by Angelika. Q&A’s with directors and film’s subject, Friday thru Sunday at 7pm.)
MEETING WITH POL POT
Imagining how three journalists managed to explore Cambodia’s history of genocide and oppression as well as meeting with its dictator in 1978, this haunting and absorbing dramatic thriller is inventive, atmospheric and tragically sad. As the journalists explore the country and its people, constantly inspected by the regime, director Rithy Panh intercuts the narrative with real archival footage and photographs, and miniatures, revealing a past marked by human tragedy. Cinematographer Aymerick Pilarski creates a claustrophobic atmosphere, capturing the turmoil of authoritarianism with hazy, warm colors. Delivering a powerful humanitarian message and masterly performed by Irene Jacob, Cyril Guei and Gregoire Colin, as the trio of journalists, the result is an intense, chilling and alarming political thriller.
(Strand Releasing. Go to https://strandreleasing.com/films/meeting-with-pol-pot/ for details)
FAMILIAR TOUCH
Directed by Sarah Friedland, this Venice-selection announces a major female cinematic force. An endearing, highly sensitive and observational look at how dementia affect families and relationships, it follows the initial steps of an elderly woman learning how to adapt to a senior care facility, its routine and the other folks living there. Actress Kathleen Chalfant delivers a moving, impressive performance as the octogenarian battling to maintain her sanity and strength amidst the challenges aging and dementia. I can see a bright future for both the actress and director later this year when Awards season kicks off. A meditation on the cycle of life, its pleasures and unexpected hurdles, it’s an achingly beautiful canvas of the human condition.
(Music Box Films. Now playing at Film Forum NYC)
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