A taught, nervous, noir thriller as traumatised veteran Joaquin Phoenix (Walk the Line, Inherent Vice) tracks down missing persons – with liberal use of violence when necessary. With the disappearance of a senator’s daughter, Phoenix finds himself in a tight-knit paedophile ring.
Winner of both best screenplay and best actor at the 2017 Cannes Film Festival, director Lynne Ramsey (We Need to Talk About Kevin, Ratcatcher) has adapted the novel by Johnathan Ames into a moodily stylish ellipsis of flashbacks, suggestion and suppression. It’s a pity that You Were Never Really Here occasionally lapses into incoherence.
An important film exploring Parisian gay activism in the 1990s under the ACT UP banner and the shadow of AIDS, BPM (Beats Per Minute) delves deep into the motivational psyche of the young men and women involved.
It’s surprisingly gentle, weaving a love story between two members of ACT UP with the various interventions, campaigns and associated debates. The result is a powerful, lyrical, emotional narrative that resonates on a much wider political level.
Underpinned by the two leads, an energetic, driven Nahuel Perez Biscayart (All Yours, Tattoed) and the laid back Arnaud Valois (Charlie Says, Girl on the Train), writer/ director Robin Campillo (Eastern Boys, They Came Back) mixes intimate tenderness with a sense of desperate urgency. BPM (Beats Per Minute) was awarded the 2017 Cannes Grand Jury Prize (effectively runner-up to the Palme d’Or winner, The Square).
Ultimately uncomfortable watching as director Ruben Ostland (Force Majeure, Involuntary) presents a heady mix of odd social commentary along with moments of crazed subversion.
Arrogant gallery curator Claes Bang (The Bridge, Rule #1) finds himself in deep schtick both professionally and personally as a result of a distraction during the negotiations of a controversial new exhibition.
But what on paper appears to be a linear narrative is anything but as commentary on lack of social awareness or care is troweled on thick and fast in scene after scene. Subversive, anarchic, occasionally brilliant, overstuffed with ideas but a film that could have benefitted from being 105 minutes long instead of 152. Inexplicably, The Square was presented with the 2017 Palme d’Or at the Cannes Film Festival.
This year’s Best Foreign Language Film Oscar was presented to the more political Chilean feature A Fantastic Woman. But the same category at the Golden Globes was won by the more accessible German film, In the Fade.
The grief and pain is palpable in Diane Kruger’s (Inglorious Basterds, Farewell My Queen) mesmerising performance as a mother coming to terms with the murder of her Turkish husband and six year-old son. But the grief is replaced by anger as the courts look to dismiss the murder charges against a Neo-nazi couple.
Tension rides high as director Fateh Akin’s (Soul Kitchen, The Edge of Heaven) feature vacillates between social consciousness and old-fashioned justice. It may ultimately morph into something all a little too predictable, but the less-than-innocent Kruger’s award-winning performance (best actress, Cannes) more than carries the day.