Greetings again from the darkness. With any discussion or article about relationships these days, there is inevitably a mention of ‘red flags’ … warning signs in a potential partner that shouldn’t be ignored. Thanks to writer-director Fernando Trueba (BELLE EPOQUE 1992, CHICO & RITA 2009) and co-writer Rylend Grant, there is now a movie that offers clear examples of red flags for those who can’t manage to spot them without assistance.
Alex (Aida Folch) is a lovely young woman who can’t swim or speak Greek. So of course, she applies for a job at a restaurant on a Greek island. It’s a boutique joint, just opening, owned by Max (Matt Dillon). Alex is drawn to the mysterious Max. While she’s a carefree open book, he’s a tight-lipped private person. A local charmer and part of the staff, Chico (Juan Pablo Urrego) tells Alex, “Nobody knows Max.” Unfortunately, this doesn’t deter Alex and she continues to pursue her man.
One thing respected filmmaker Trueba gets right is the look of the film. Set in 2001, the Greek isle locale is breathtaking and the cinematography by Sergio Ivan Castano takes full advantage of the seaside setting, as well as the cute café and the cast of faces the cameras adore. Aida Folch has an initial likability that reminds me a bit of Valerie Kaprisky from BREATHLESS (1983), and Matt Dillon has been a big screen fixture for more than forty years. It’s really the material that lets us down here. The romance is never quite as romantic as we’d hope, and the suspenseful aspects never generate the tension that we’d prefer. Mostly we just keep asking, “What is Alex doing? Why doesn’t she bolt?” The aforementioned red flags are so obvious that the big reveal barely warrants a nod, and the finale is forced to go a bit over-the-top due to the unlikely actions of Alex. In spite of all that, the Greek isles are enticing.
In theaters and On Demand beginning September 27, 2024
Posted by David Ferguson 
Greetings again from the darkness. The distance between desperation and hopelessness can sometimes be very narrow, although desperate folks can make for interesting story characters thanks in part to the unexpected actions one can take when not thinking clearly. In his first feature film, writer-director Simon Hacker tackles a desperate man, only he kicks things up a notch by including a surprise visitor.
Greetings again from the darkness. I’ve always been enamored with movies which are paced so deliberately that it can easily seem like not much is happening, when actually we drift from dark comedy to tenderness to tragedy. It’s likely why I’ve been drawn to films from Iceland, including this one from writer-director Elfar Adalsteins (END OF SENTENCE, 2019) who has adapted the 2005 novel from renowned Icelandic author Jon Kalman Stefansson. The culture in this small village is such that folks mostly keep to themselves, and nature is a constant companion.
Greetings again from the darkness. Part of my attraction to arthouse films is the often-unconventional path to storytelling that the filmmakers take – sometimes expending more effort on the look and style than on the characters and plot. These films once only had life in film festivals, and today many also carry on in the streaming revolution. I’ll go ahead and admit upfront that this latest from Argentinian filmmaker Lisandro Alonso (JUAJA, 2014) and co-writers Martin Caamano and Fabian Casas is a bit esoteric for my tastes … although it looks beautiful.
Greetings again from the darkness. Eighteen-year-old Elliott is counting down the twenty-two days remaining until she leaves home for her freshman year of college. For anyone who was once 18 or has raised an 18-year-old, you know that 22 days is the future. Writer-director Megan Park follows up her excellent feature film debut, THE FALLOUT (2021), with a different tone, albeit another one that focuses on the stress of being a teenager.
Greetings again from the darkness. After the lukewarm reception at last year’s Toronto Film Festival, and complaints about the ending, director Anand Tucker (SHOPGIRL 2005, HILLARY AND JACKIE 1998) called the cast back for re-shoots. Oscar nominated writer Patrick Marber (NOTES ON A SCANDAL, 2006) adapted the 2015 novel, “Curtain Call”, by Anthony Quinn (a former film critic, not related to the two-time Oscar winner with the same name). Although I can’t comment on the original version, this one provides a bit of entertainment.
Greetings again from the darkness. Many of us (perhaps too many) are drawn to the dark side – topics that dig into the ugly side of human nature that Mr. Rogers mostly avoided in his neighborhood. A quick look at the popularity of true crime shows provides proof of the fascination that corresponds to those who don’t subscribe to the golden rule. Writer-director Pascal Plante has a track record of film festival success and his latest fits the mold – fascinating to watch with a twist that may have viewers questioning their own assumptions.
Greetings again from the darkness. I don’t know why. I wish I could explain it. So many movies I admire or find intriguing are not the kind of movies that one would describe as uplifting, likable, or even watchable multiple times. The first feature film from writer-director Luna Carmoon is yet another for that category. It’s simultaneously compelling and unpleasant – a difficult movie to watch with an unrelatable lead character. And yet, I couldn’t turn away. The film won multiple awards at the 2023 Venice Film Festival, so obviously I’m not the only one drawn to this.
Greetings again from the darkness. ‘Coming of Age’ films typically lean heavily into either comedy or tragedy. In his first feature film, writer-director Sean Wang (Oscar nominated for his documentary short NAI NAI & WAI PO, 2023) takes a different approach. While he certainly injects some humor, it’s isolation and awkwardness – that feeling of not fitting in – that takes center stage. It’s quite possible, even likely, that some of this is autobiographical for director Wang. That’s a safe statement since most every teenager can relate to bits of this story.
Greetings again from the darkness. The mistreatment of kids is something that causes a physical reaction for me. It’s not just the intellectual and emotional effects – my entire body reacts by shifting into some mode that’s a cross between aggression, sickness, and denial. No matter how much we wish child trafficking wasn’t occurring, we know that it is … and reminders are crucial in keeping the awareness and discussions (and kids) alive. That’s the role of the first feature film from writer-director Mohit Ramchandani.
Movie Reviews from the Dark 