Author: Dominic La-Viola

Fast And Furious Director Justin Lin Scores Next Project 

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By:Dominic La-Viola

Justin Lin, director of such films as “Better Luck Tomorrow”, more than half of “The Fast And Furious” films,  “Star Trek Beyond”, and “Last Days”, has found his next project. A Sony video game adaptation. 

Lin has been hired to direct the adaptation of Sony’s “Helldivers”. To which, along with directing, he will be producing the film via, Perfect Storm, his production banner. 

Gary Dauberman has been hired to pen the script. Dauberman is known for his horror films including “It”, “Salam’s Lot”, and “Annabelle” films. 

Now, I, like Lin, am not a gamer, although it is said that the video game franchise is heavily inspired and embodies “Starship Troopers”.  Which is a film franchise I am familiar with. 

A group of elite military personnel fighting to destroy alien bugs that are trying to take over and/ or destroy the world. 

Sounds like this is going to be more of a “Starship Troopers” reboot than anything else. Same premise, just different core characters in which we follow on their journey behind enemy lines. 

Although I do get why they are making it an adaptation of the video game and not a “reboot” of the film franchise. 

For as bad as video game adaptations usually are, they do make money. To call it a reboot of the original “Starship Troopers” would probably cost more money and have legal issues with producers owning rights and/ or wanting to be paid for the project.

Not to mention the video game franchise has a massive following and is a very popular game. Whereas the films do have a following, it is considered to be more of a cult classic, then phenomenon.  Giving the video game adaptation angle, a better marketing edge. 

Source: The Hollywood Reporter

Nouvelle Vague – The Perfect Movie For Anyone Who Loves Movies.

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By:Dominic La-Viola

Nouvelle Vague is the perfect film for anyone who truly loves movies. I mean down to their core. Cinephiles whose obsession with movies is borderline addictive. The desire to see movies, not necessarily watch them.

I am without question one of those people, to which is why I think this film spoke to me in such a way, no other film has in quite some time. 

The film is shot in black and white, with a 1.37:1 ratio. The same ratio that the film in which it was inspired did. “Breathless”, the 1960 film, that did not necessarily start The French New Wave. Nevertheless, it was undoubtedly one of the most influential films of the movement. 

Going into this film, I was quite excited because I knew a decent amount about director Jean-Luc Goddard before seeing the film, and was familiar with his work and his background as a film critic. 

Not to mention, I know from watching commentaries that director Richard Linklater was also a huge fan of his. Along with being a true cinephile. Knowing an extended amount of the French New Wave, along with various other New Wave movements in film history. 

One of the things that I find most interesting about the film is the attention to detail about Goddard himself. For the film is just as much about him as it was about the making of “Breathless”.

Covering, without going too deep into detail about his time as a critic as Cashiers du Cinema. The impact he had on the film industry as a critic before moving on to become a filmmaker.

For he was to the French at the time as Roger Ebert was in America, during his career as a film critic. Someone’s opinion whom everyone not only respected but admired. 

Having that on the forefront of the film, I think really helps show not only the rise but the amount of knowledge and influence Goddard already had in the world of cinema, prior to making his debut film.

Of course, there were a lot of Easter eggs, so to speak. Names being dropped and showing whom he hung out with, filmmakers who were once critics with him at Cashiers du CinĂ©ma prior to making the transition into directing. People who just happened to also be some of the most influential filmmakers of the French New Wave. 

Guillaume Marbeck gives an outstanding performance as Jean-Luc Goddard. Embodying him in a sense that I can only imagine to be the most authentic version of him. 

Having seen interviews with Goddard and listening to him speak on the terms of cinema and how it is to be created, I feel like Marbeck captured that essence brilliantly.

Zoey Deutch gives the performance of her career as Jean Seberg. Recapturing the brilliance of the performance of Seberg’s in the original film “Breathless”.  All while creating this beautiful portrayal of this Hollywood actress, even down to the mannerisms. 

The scene in which we watch them film, the scene in which we first meet her character and she is selling newspapers, felt like the perfect recreation of “Breathless”. 

Director Richard Linklater does something magical with this film, to the point it feels like a direct recantation of this moment in time. Not only from a technical perspective, using the same techniques used in “Breathless” to pay homage to the film. But also embodying the richness of a true cinephile creating his first film off of pure inspiration, drive, and love of cinema. Pouring all of that into the film, and coming out the other end with something spectacular and game-changing. 

I couldn’t imagine anyone else making this film. Being able to capture the tone and emotion that Linklater does, through not what is said or done, but how it is captured and translated onscreen.

 It almost feels as if Linklater is able to recreate this atmosphere perfectly, by tapping into that mindset he had making his directorial debut with “Slacker”. An indie, low-budget film. While the content of the films is completely different. That drive that they share is one and the same. 

There is this brilliant balance between not only capturing but telling the story of a cinephile film critic turned director and creating this intellectual, humorous film. One that is just as entertaining as it is informative. 

All in all, I without question loved this film completely through and through. It’s a perfect example of how to create a biopic,  to capture and pay homage to a person and/ or moment in time flawlessly. Reconstructing everything that made the person and time infinite and immortal. 

Linklater has a serious love and passion for cinema and cinema history, and this film not only shows that but puts it on display. 

I particularly love the scene in which the DP is standing in the center and everyone is standing around him in a circle. He is filming them as they all wink at him. Not for the film in which they are working on, not because Goddard told him to. Just because.

Now, I can’t say for certain that this particular shot or scene was a homage to “Band of Outsiders” when they are running through the museum as the camera is following them. 

A random moment in the film that really has no context. Nevertheless, it remains one of the most memorable scenes in cinema history. One that is simply iconic. 

When watching the film, the scene of him filming everyone in the circle wink stood out to me and really reminded me of that moment from “Band of Outsiders”.

Which ironically enough, “Band of Outsiders” is a French New Wave film, directed by none other than our man of the hour, Jean-Luc Goddard. 

Overall Rating: 5/5 Stars. 

Legendary Director James Cameron Speaks Out About Netflix Buying Warner Bros. 

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By: Dominic La-Viola

James Cameron is one of many filmmakers in the news the past couple of days for sharing his opinions. Although contrary to others. His topic of choice is something far more relevant to Hollywood and movie lovers.

Cameron speaks out about the three potential buyers for WB/Discovery, stating that if Netflix acquires them, it would be a “disaster.” He says things like Netflix’s premise of releasing a film on 400 screens for a limited release only to make it eligible for the Academy Awards is “fundamentally rotten to the core.” 

Cameron went on to clarify that he doesn’t care if Netflix wants to compete for the Oscars as long as they adjust their release strategy. 

“They should be allowed to compete if they put the movie out for a meaningful release in 2,000 theaters for a month,” he went on to say.

To which I get and understand, to which I don’t disagree. Films that want to be eligible for the Oscars should get a proper theatrical release. For that is what the Academy Awards were designed for. They were created to celebrate movies and help support the film industry. 

Although to the contrary, I’ve said it before and I’ll say it again.  I believe that Netflix would be the best choice to take over WB. Netflix has been slowly releasing more and more of its movies into theaters for longer and longer periods of time. Even films that we know aren’t going to be Oscar contenders.

Which makes me believe that they are trying to expand into the theater game, which would help generate new venue streams that they without question are going to need to continue on their journey. 

Looking at the past 10 years, with Netflix’s first original film “Crouching Dragon, Sword of Destiny” in 2016. Which the film received a limited release in theaters, was the first of many films to come. 

They continued to produce new films and even buy films from festivals to release. Although theatrical distribution is a lot more complex than simply saying that you want your film in theaters. 

We’ve seen this firsthand with “Christy,” Black Bear Pictures’ first film that they tried to distribute to theaters. A complete nightmare. 

There are many moving factors in releasing a film in theaters than simply adding showtimes and allowing a theater to show it. Something Netflix has yet to master.

Yet the WB has entire departments dedicated to this process, with years of experience and expertise. So by them buying WB and all their assets, I think Netflix would use the resources to expand their current market offering. Helping save the very thing that they put in jeopardy from its original business model: theaters. Theaters. 

The Sonic Universe Is Growing With Yet Another Spin-off. 

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By: Dominic La-Viola

Deadline has reported that in the winter of 2028, we will be getting another “Sonic” spin-off movie. One that will extend the Sonic universe. 

Although as of now, there is nothing of substance to report. 

All characters, plot details, and casting are being kept under wraps. Considering that there is a lot of lore that has been created beyond and around the classic game series. 

Through animated tv shows and comic books, there are endless possibilities on where they are going to take the story. Between other heroes, clones, robotics, creatures, and various villains, the possibilities are truly endless. 

With already 3 films in and a spin-off show with “Knuckles”. They have plenty of areas to still expand on and explore. Which, by the looks of it, they don’t intend to stop doing anytime soon. 

Personally, I would love to see them explore the lore and origins of “Sonic” more, maybe do a film that focuses on his home planet, or the worlds in which we’re created for the games. Similar to how the “Super Mario Movie” did it. 

The untitled Sonic Spin-off is scheduled to be released on December 22, 2028. 

 Source – Total Film

Collider Writer Calling the Master of Horror John Carpenter “Wrong” for His Take on “The Substance” 

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By:Dominic La-Viola

Billy Fellows calls out John Carpenter, whom he says “is arguably one of the most influential voices in the horror genre, particularly when it comes to body horror.” 

Going on to talk about the situation, when a fan asked Carpenter if he liked the film, after stating they “loved it”, to which of course he said, he didn’t. He was going to leave it at that, and then the fan pushed and asked what he didn’t like, to which he reportedly said, “Nothing”. 

Which of course caused backlash and this Collider writer, writing this. 

“John Carpenter may be a great filmmaker, but there is nothing else to say here apart from the fact that he is wrong. There are clear strengths to The Substance that aren’t just the opinions of one Collider writer, but a consensus among audiences and critics.”

Which is completely inconsistent with the English language and by the definition of what a fact is. The statement is incorrect for it can’t be proven. You could make a statement in which you say, you believe he is out of touch with modern audiences, or that his option is clearly in the minority and give examples why, citing facts like:

 

The film’s critical praise. Which sits at a 78 currently on metacritic.com. Which has more than a few 100% reviews. 

However, the film also has quite a few flat-out terrible reviews bashing the film. 

Slate Magazine gave it a mere 20, stating, “After two hours and 20 minutes of flamboyantly repulsive variations on this well-worn theme, even the strongest-stomached and most feminist of viewers could be excused for muttering, ‘We get it already.’”

Paste Magazine gave it a better, but still degrading, rating of 30. Stating, stating, “An overuse of stale horror conventions in an already predictable plot—combined with decades-old, thoroughly unchallenging ideas about women’s relationships to their bodies—leads to a film that claims to support its protagonist, while treating her like the butt of the joke at every turn.”

The Chicago Sun-Times, the paper most known for its legendary film critic Roger Ebert. Gave the film a high praise of 50, which, just for clarity, out of 100, is still a F, for failure. The critic has this to say about the film:

“The satire becomes almost numbingly obvious over the far too long running time of 140 minutes, and with all due appreciation for the strong work by the leads, the horrifically impressive VFX and prosthetics, and a few moments of pitch-black humor, we exit the film feeling more pummeled than enlightened.” 

So John Carpenter is not alone when saying the movie isn’t good and he didn’t like it. The fact that people are trying to belittle and discredit one of the greatest horror filmmakers of all time is humorous. 

The fact that he was one of the founding directors to truly make body horror what it is, alongside directors like David Cronenberg. Whom arguably knows more about horror, how to make it, and what truly makes it enticing. 

To try and discredit them because they bash your favorite film is not only disheartening, it comes off as if one is unsure of their own opinions and needs validation. 

When truly, “The Substance” isn’t that good of a movie. While I don’t agree that there is nothing to like about the film. For the performances, cinematography, score, make-up,  and costume design were spot on. Truly flourishing. Paying homage to the greats that came before. Which I truly love about the film. 

The overall storyline lacks that degree of authenticity that makes great satire.  

Personally, Instead of making it about an Oscar-winning actress with a successful career being fired from an overly sexualized Gene Simmons cycling class knock-off. 

A better concept would have been, her being passed on for a role of a lifetime. A remake of a classic Hollywood film, like “The Graduate”. 

Where her character was signed to play “Mrs. Robinson” and then is fired because they want to go younger. Someone who is more of a “sex symbol”. 

It would have given more credibility and substance to the plot and subject matter. It better replicates what’s actually happening in Hollywood and the movies. 

Most notably with “Spider-Man”. In the Sam Raimi franchise, Aunt May was played by a very elderly woman. Then with the “The Amazing Spider-Man” franchise, they went younger, with an actress noticeably younger. 

Only then to go even further in that direction when Marvel made the “Home” trilogy. Making Aunt May, way younger and arguably sexualizing her character. Not only with appearance but with jokes, pointing out Happy’s attraction to her. 

 

So much to the point that people online made posts pointing this out. Stating and posting pictures, stating the next “Aunt May” will be played by Megan Fox, and attaching photos of her. Calling the studios out on what they were doing. 

In conclusion, while the film was an overall critical success, and has found its audience. Some of which have said to really relate and connect to the themes in the movies. 

Which I not only completely understand and respect. But also praise, that the film was able to generate such emotional connection to its viewers. 

However that doesn’t mean there isn’t  room for negative criticism and it would be fair to say that people have legitimate opinions  for not liking it. 

Source: Collider

Left-Handed Girl— A Must-See From The Team Behind “Take Out” 

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By: Dominic La-Viola

Left-Handed Girl is another amazing, character-driven film from Shih-Ching Tsou. 

 Shih-Ching Tsou and Sean Baker, who co-work and co-directed the 2004 film “Take Out,” team up once more for this astonishing, family drama that takes a deeper look into the everyday lives of a single mother trying to raise her daughters. 

The film is co-written by Shih-Ching Tsou and Sean Baker and directed by Shih-Ching Tsou.

I first saw their co-directed film “Take Out” last year for the first time, which left an impact on me. So much so that the film is still rather fresh in my mind.

Tsou’s latest directing effort is similar in the sense that the film is centered around everyday people who are struggling to get by. 

Following them on their efforts to make a better life for themselves and their families, all while trying to figure things out. 

This film in particular centers more on the meaning of family, commitment, and doing what one believes is the right, moral thing to do even in times of crisis. 

The story mainly takes place at a night market in a heavily built-up metropolis. Which really adds to the beauty of the film. 

Shih-Ching Tsou really captures the city life and look so brilliantly that the city takes on a character of its own. Which is beautifully captured through the wonderful cinematography by Ko-Chin Chen and Tzu-Hao Kao.

As brilliant, heartfelt, and captivating as the film is at capturing the insight of a single mother trying to raise her daughters. There are more layers than in which we are first led to believe. 

Not only capturing a parent trying to do what is best by their child, but the film also explores the idea of the negative repercussions of an elder’s actions.

From the grandpa telling I-Jing that the left hand is the hand of the devil and that it should not be used, for it’s the devil’s hand. 

For it’s an old tradition, for no one to use their left hand. Everyone must be right-handed and not use their left hand, almost at all. 

Which, of course, I-Jing, being just a child, doesn’t comprehend what the grandfather is trying to say, or more so, what he means by the left hand is the hand of the devil. Of course, this leads to further issues which are part of a bigger story arc.  That not only develops her character, but I-Ann’s character as well. 

 

Whom we learn has her own issues and negative repercussions due to not only her own decisions, but those of her mother. 

Whom she spends a good portion of the film hating, for her own justified reasons. That once learned, not only answers the question of the resentment towards her, but also plays a part in her own development. 

The film does a spectacular job of taking an insightful look into the issues and problems that affect everyday families. Expressing and showing these characters for their true nature, while never judging them for it. 

Offering a comedic undertone, to a film that without it would very much be an unsettling and depressing watch. Dealing with and addressing issues that hit close to home for many. 

Overall, this is a stellar film. One that not only captures the meaning of family but displays the hardships and growing pains that many go through. 

Exploring the meaning of parenthood, marriage, and supporting those you love, even when they don’t deserve it. 

Not to mention the film gives us stellar performances from Janel Tsai, who plays Shu-Fen. Shih-Yuan Ma, to whom this is her debut film, gives a worthy debut performance. Lastly but certainly not least, Nina Ye, who plays I-Jing. Giving us one of the best child performances in recent memory. 

Overall Rating: 4.5 Stars. 

Lise Boursin, the  Most Photographed Girl in France, Dies at 99. 

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By:Dominic La-Viola

Lise Boursin, a model turned actress, dies at 99 years old. Just two days before her birthday.

Brunette, green-eyed Louise Marie Odette Bourdin-Perrier was born in NĂ©ris-les-Bains, in the Auvergne-RhĂŽne-Alpes region of southeast-central France. 

Boursin was the most photographed girl in France between 1949 and 1950. She started her career in modeling, then branched off to acting in the early 1950s.

She was featured in Life Magazine twice, something that she was extremely proud of. She later quoted saying that only “Few French women have ever had two pages in Life magazine; there was Bardot, Moreau, and me.” 

Her film career spanned around a decade, from 1951 to 1959. She decided to quit acting because she said, and I quote, “I told myself I would never have the career I deserved, so I quit.” 

Her acting career might have been short in comparison to some, but nonetheless, she had quite a career. Most notably, she played in Billy Wilder’s  “Love in the Afternoon,” which was nominated for a Golden Globe for Best Musical or Comedy Feature Film. 

 Born

November 30, 1925

NĂ©ris-les-Bains, Allier, France

Died

November 28, 2025 (aged 99)

Labastide-d’Armagnac, France

Quentin Tarantino Bashes “The Hunger Games” For Simply Being A PG “Battle Royal”

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By:Dominic La-Viola

“I do not understand how the Japanese writer didn’t sue Suzanne Collins for every fucking thing she owns,” he said. “They just ripped off the fuckin’ book. Stupid book critics are not going to go watch a Japanese movie called Battle Royale, so the stupid book critics never called her on it. They talked about how it was the most original fuckin’ thing they’d ever read. As soon as the film critics saw the film, they said, ‘What the fuck? This is just Battle Royale except PG!’”

Quentin Tarantino said this on “The Bret Easton Ellis” podcast. Which has not only made news but sparked some outrage online given his body of work.

Now, as a film nerd and someone who has always admired Tarantino’s work and vision, especially as an indie filmmaker who made his way into Hollywood during the indie boom. Which was a period of film history in which I was obsessed with during my early years as a cinephile. 

I have watched many films and rewatched many films, giving them a second chance due to Tarantino’s stamp of approval. As it said on the cover of the Blu-ray of ”Battle Royale”. 

So of course I saw ”Battle Royale” way before “The Hunger Games” came out in theaters, and while the first thought popped into my head upon seeing it, this is  nothing more than a PG-13 version of “Battle Royale”. 

Which is clear to anyone who has seen “Battle Royale,”  which is mostly all film critics, movie nerds, and cinephiles. 

Although there are some who also know their films and film history that are calling Tarantino out. Saying that he has no room to talk, considering he spent his entire career ripping off other movies. 

To which, that’s a valid statement, but not a valid argument, for he doesn’t rip off films. 

Tarantino famously steals from his favorite films. Taking different aspects from different films and making something new.

So much so, that he created an entire subgenre of film. He even had people trying to recreate what he did, and failed miserably. For years there was a flood of Tarantino knockoffs, that were merely trying to copy what he was doing. 

Now with all that being said, is he right
 He is, “The Hunger Games” is a knockoff, that doesn’t compare to “Battle Royale”. Although I do think his statement is a little extreme. 

Yet I think he is getting what he truly wanted when he made that comment. Exposure for one of his favorite films “Battle Royale”. 

A film that I loved, but I don’t think mainstream audiences were ready for over a decade ago when they first started making “The Hunger Games” series, and if the film had gotten a wide release like “Parasite” did, I don’t think it would have been successful. 

In a post “Squid Games” world, I think the chances of “Battle Royale” being a  success with American audiences is highly likely. If Netflix got the rights and pushed it on the front page of its platform, I think it would quickly jump up the leaderboards. 

For I don’t think that American audiences were ready for the film upon its original release. Just as I believe as much as “The Hunger Games” was a direct rip off, I don’t think it hurt or stole “Battle Royal” thunder with American audiences. 

Eternity – One of the Best Love Triangles Since Casablanca. 

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By: Dominic La-Viola

A film that embodies Casablanca beautifully for a new generation. Although I don’t think it will get the same praise. 

Eternity feels like the latest in a long line of films that have created a new sub genre. Elevated romantic comedies. All while low-key embodying one of the greatest love stories of all time: “Casablanca.” 

The film has all the core settings of what we would typically see in a romantic comedy. Yet, approaching it in such a way, it’s new and fresh. 

How do you add a sense of will they won’t they, all while keeping your viewer engaged and fully vested while offering them something new? 

You convince your audience that there is a chance that she won’t pick her husband of over 60 years, all while creating a narrative that makes your audience not hate her, but actually feel bad for her.

 Eternity, not only creates that narrative, it creates a love triangle that is not only valid. But one in which could possibly be the greatest love triangle, since it is the greatest love triangle. 

 The film not only tackles the subject matter of where do we go after we die and what is waiting for us. Something that doesn’t usually work, for the divide it creates. Yet with “Eternity,” the afterlife is less of the premise of the film. 

Playing more as a background, with no substance to religion or any actual beliefs. But entangled enough in the story to be relevant and problematic. For once you choose an “Eternity” to spend the rest of your “Eternity” there is no changing or going back.

So of course, the simple answer for the entangled love triangle would have been the simple way out. They all go to the same “Eternity” which essentially is a cop-out.  Plenty of people and places to go. They could easily coincide without having to all three be together all the time.  

Of course, neither of the husbands wants to be in the same “Eternity” as the other, forever competing for the attention and love of the woman in whom they are their everything. 

David Freyne captures both sides of the genre blissfully. Allowing the comedic moments to flow through without it ever becoming cheesy and overly chewy. 

Taking a new look and diving into what love is, and going beyond the surface of lust, desire, and longing. By comparing the relationships of two marriages, of the same woman. One in which was cut short by death and war. While the other was long, loving, and blissful. Up to the point of loving, yet petty bickering.

Not to mention you have a star-studded cast that all share this unparalleled chemistry. Olson has this amazing chemistry with both Teller and Turner. Giving us this believable and interesting love triangle that undoubtedly works. 

Olsen’s performance is one that I think is going to be underrated and overlooked for the subject matter. For she really tunes into the unbelievable, believable dilemma of a twice-widowed woman. 

Overall, I think the film captures this amazing journey of love and what marriage truly means. Comparing and analyzing various aspects of relationships, going beneath the surface level and really exploring what defines love. 

While being not only one of the best romantic comedies since “When Harry Met Sally” and “Sleepless in Seattle”, I believe this film will be overlooked and sadly fall by the wayside. Not earning its eternal spot among the greatest romcoms of all time. Which it rightly deserves .

The ending is blissfully perfect, while some may argue that the perfect ending goes against everything we learned from previous events in the film. I would argue that there was no better ending. Simply allowing them to find the perfect “Eternity” outside of the realm of the paradises shown is the point. That the perfect “Eternity” isn’t where you are, but who you have to spend it with. 

Leaning slightly inwards on the tropes of rom coms, yet somehow creating this uncharted territory of bliss. Allowing the film to end in such a way without tampering with its overall quality. 

Overall Rating – 5/5 Stars. 

Sentimental Value – An Insightful Foreign Drama, Marketed As A Hollywood Family Drama 

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By:Dominic La-Viola

“Sentimental Value” is an insightful and very painstaking look into the lives of generations of a family, brilliantly using the family house as the centerpiece and at times as a narrator without a voice. 

Upon first seeing trailers for the film, they were all very much montage clips with a smooth, yet upbeat soundtrack. Completely masking the true nature of the film. 

Which is only doing a disservice to the film, for the viewer is blindsided by this artistic, intelligent, and intellectual film that dives deeper than most feel comfortable with, all while being more artistic than your average moviegoer is going to enjoy.

The film has very distinctive, with an ending that isn’t clear-cut and open. Leaving questions unanswered and the audience left with more questions and uncertainties than mainstream films often do. 

All of which are open to your interpretation on some of the hows, whys, and whens of it all. 

For the film not only offers this unique insight and deep dive into the lives of two sisters on the front, while also providing backstory into the previous generations. Including, including their filmmaker father. Whom wasn’t always around and doesn’t apologize for it. Not in the sense in which you or they would expect.

The film not only deals with, but covers topics in which at times are hard to not only relate to, but to stomach. Yet the beauty of this film is it pulls no punches and doesn’t try to wrap things up nicely and  tie a bow on top. 

While the storyline is entirely story-driven, with performances being one of the primary drivers of the film, carrying it almost entirely, not for any other reason than that’s the way the story is written and what the film is built around.

Nevertheless, even with these performances being the frontier of the film. Other great attributes are there, holding their own throughout the entire film. Just waiting to be noticed.

Like the direction, for example. It’s so subtle, yet incredibly powerful and well executed throughout the entire film.  Giving us a film that is perfectly balanced both in tone and pacing. Something that nominally stands out, yet I believe in this film. It takes a secondary role to the performances and at times is even overshadowed by them.

For the performances, they are not over the top, but are divine and beautiful. Creating and adding to the narrative that is, and at times isn’t there. 

While the editing seems blocky at times, something that many would consider to be amateur and sloppy, it offers a unique transition between scenes, due to the heavy subject matter of the film and its overall tense of lack thereof. Creating lifelike moments instead of scenes in a movie. 

A lot like the moments and motivations in the film. Everything feels authentic and unique while having a sense of familiarity. With an ending that doesn’t offer a magic solution, but insightful grace. 

Overall Rating 4.5/5 Stars