★★★★☆ There is tragedy and there is comedy, but the hinterland has never really received a proper definition. Melodrama suggests histrionics and musical accompaniment milking the emotional teat. Drama is too broad. And anyone who suggests “dramedy” should be punished. It would be “dramedic”.
★★★★★ Léo (Eden Dambrine) and Remi (Gustav De Waele) are best friends. At 13, they are intelligent and autonomous enough to be allowed a certain freedom, but still full of the childish and spontaneous joy of being and imagining. They pretend villains are attacking the castle, run through the flower fields, and have so many sleepovers together that Leo’s mum wonders aloud if he’ll ever come home.
★★★☆☆ “Family isn’t a word…it’s a sentence”. So ran the tagline to The Royal Tenenbaums. For Hirokazu Kore-eda it could be argued that it’s a whole career. From Still Walking to the Palme d’Or-winning Shoplifters, the Japanese auteur has spent the greater part of his career delineating the lines of attraction and repulsion, the dynamics of duty and care that make up families – both real and alternative.
★★★★☆ “Love is not enough,” is the advice given to the parents in French playwright Florian Zeller’s sophomore feature film The Son, which closes the diptych begun by The Father. It is wise advice and goes against so much that we instinctively feel about parenting and childcare. All we need is love, surely? Unconditional love.
★★★★☆ American director Darren Aronofsky has made a career out of exploring individuals who are physically and psychologically self-destructing in the throes of obsession. It could be the relationship between the diameter and circumference of a circle; building a boat to avoid a genocidal flood; ballet or wrestling; drugs or food.
★★★★★ Documentary filmmaker Alice Diop’s (We, La Permanence) first narrative feature Saint Omer is a major achievement and an investigation into motherhood, judgment and the other. Kayije Kagame plays Rama, a university professor and writer who is working on a new book.
★★★★☆ Academy Award winner Laura Poitras has become one of the keenest and most perceptive chroniclers of our times. From torture in Iraq to Edward Snowden and WikiLeaks, her documentaries feel like they aren’t just recording history as it is made but are directly participating in it.
★★★★☆ Royalty. Can’t live with them. Can’t stop making films about them. If it isn’t The Queen or the Netflix series The Crown, it’s Spencer. And now Marie Kreutzer’s new film Corsage puts on the crown with a spirited and witty take on Empress Elisabeth of Austria – better known in Europe as Sissi.
★★★★★ “All plots tend to move deathward. This is the nature of plots.” we are told early on in Noah Baumbach’s new film White Noise. Not since Alvy Singer bought Annie Hall all those books about death has there been such a funny and richly intelligent investigation of the particularly American anxiety about death.
★★☆☆☆ We all have directors that we don’t seem to get on with. We might admire their technical prowess or their commitment, but for some reason we just don’t click. For this critic, that’s the Dardenne brothers – Jean-Pierre and Luc – the Belgian filmmaking team that have brought a series of modern classics.
★★★★★ Parents are normal people too. They might not seem it but once you have a kid, you become a care provider, a hotelier, a therapist, a nurse, a taxi driver, a chef and a thousand other things. You become mum or dad and the idea that you too might have a life is something that shrinks.
★★★★☆ Whether it’s the neo-noir of We Own the Night, the ménage à trois of Two Lovers, or the sad-dad-in-space opera of Ad Astra, Gray has managed to pursue an intensely personal vision through a variety of genres. Now he’s back in UK cinemas with a more down to earth offering.
★★★★★ If there was one criticism of Ruben Östlund’s The Square, it’s that his satire wasn’t so much shooting fish in a barrel as nuking a pod of whales in a glass of water. His new film, Triangle of Sadness, begins with a series of riffs on how vacuous the high fashion world is.