I’M YOUR MAN (2021, Germany)

February 9, 2022

Greetings again from the darkness. The thing about humans is that we are always looking towards the future to see how we can make things easier, better, or more exciting. This is often with an eye towards more fuel-efficient cars, smaller and more powerful computers, and more effective medical treatments. Writer-director Maria Schrader and co-writer Jan Schomburg have adapted the short story from Emma Braslavsky and turn the lens to relationships and love. Is it possible to advance inter-personal relations to the point of perfection? Would that even be desirable or preferable to the messiness that’s gone on since the beginning of time?

It’s actually the film’s premise that impresses most. Maren Eggert stars as Alma, an Anthropologist who has dedicated years of her life to leading a team documenting the earliest human use of poetry. Alma is a serious and determined woman, and one who bears the scars of a recent breakup. She’s drawn into an extraordinary experiment that blends high-tech with sociology. Advanced robots have been developed to become the “perfect” mate, and are programmed specifically for one person. Alma has agreed to the three-week trial, and her robot is Tom (played well by Dan Stevens, BEAUTY AND THE BEAST, 2017).

Their initial interactions are quite awkward as Alma is skeptical and Tom is programmed to constantly and quickly learn and evolve based on Alma’s reactions. Despite Alma’s hope for companionship and recognition of her own biological clock, she seems to catch herself anytime she begins to feel a bit of joy. She never imagined that her pursuit of happiness would be dependent on advanced robotics. To monitor the progress, the program’s director, played by Sandra Huller (TONI ERDMANN, 2016) periodically checks in. And yes, she holds her own secrets.

This is a clever film that delves a bit deeper into human emotions than we originally anticipate. It also contains quite a bit of humor – the initial dance club introductions are pretty funny, as is Tom’s facial expression each time he’s tweaking his algorithms. We do learn flirting is “difficult to program”, although in today’s society, that’s a treacherous path anyway. Of course, Alma slowly comes around to the idea of an artificial relationship – one that by definition can never be real. The film is not at the level of EX MACHINA (2014), although it’s less about technological advances and more about self-realization. Ms. Schrader’s film is plenty entertaining to watch and one that slyly points out many flaws of us human beings, while delivering an unexpected ending.

Available for streaming on multiple platforms

WATCH THE TRAILER

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Posted by David Ferguson

DEATH ON THE NILE (2022)

February 8, 2022

Greetings again from the darkness. For us Agatha Christie fans, a certain amount of trepidation exists every time a new movie or TV version of her work hits. Stress level was reduced a bit this time since director-actor Kenneth Branagh and screenwriter Michael Green are back following their collaboration on Christie’s MURDER ON THE ORIENT EXPRESS (2017). Although the star power this time isn’t quite at the level of ‘Orient’, it seems Mr. Branagh has grown quite fond and confident of his own Hercule Poirot, the Belgian super-sleuth.

Director Branagh takes an unusual approach with a black and white Prologue from 1914 as a young Poirot shows flashes of his intellect as a soldier in WWI. The real purpose of this segment is to show Poirot was once a young man in love, and then a wounded soldier in love, and then a broken-hearted wounded man who would go on to become the world’s greatest detective. The prologue also provides backstory on the infamous mustache that is so much a part of Poirot.

We then flash forward to a 1937 London speakeasy where a fastidious Poirot fusses over dessert while watching the formation of a shaky love triangle unfold on the dance floor as Salome Otterbourne (Sophie Okonedo, with singing vocals from Sister Rosetta Tharpe) belts out her bluesy tunes on stage. Initially it’s Jacqueline de Bellefort (relative newcomer Emma Mackey) in the throes of lustful dance moves with her fiancé Simon Doyle (Armie Hammer in the last gasp of a once skyrocketing career). Things change quickly when Jacqui’s former schoolmate, Linnete Ridgeway (Gal Gadot), makes her show-stopping appearance in a glittery metallic gown. Flash forward again, this time 6 weeks, and its Linnete and Simon tying the knot at the picturesque Cataract Hotel in Aswan on the River Nile. See, Linnete is an heiress to her less-than-scrupulous father’s fortune, and Simon had no trouble trading up. Jacqui, on the other hand, doesn’t take it so well.

Of course the fun part of Agatha Christie’s murder mysteries involves getting to know the players and watching as the clues reveal themselves, and then how Poirot handles the big reveal. This film’s only real weakness is the character development of everyone not named Hercule Poirot. We only skim the surface of Euphemia Buoc (Annette Bening) as Buoc’s (a returning Tom Bateman) disapproving mother, Dr. Windlesham (an unusually reserved Russell Brand), Linnete’s chambermaid Louise (Rose Leslie), Linette’s Godmother and her “nurse” (Jennifer Saunders and Dawn French, respectively), family attorney Andrew (Ali Fazal), and Salome’s niece and manager, Rosalie (Letitia Wright), the proverbial sharpest knife in the drawer.

So what do we get? Well, first and foremost, a fully formed Poirot. Branagh seems to have embraced the character and the mustache, having a blast with his scenes. We also get stunning work from cinematographer Harris Zambarloukos, as he films the beautiful people, the beautiful wardrobes, and such sites as the Pyramids of Giza, the Sphinx, Ramses statues of Abu Simbel, and the excellent set piece known as the Karnak luxury steamer. There are some metaphorical effects inserted that periodically startle us, and seem unnecessary, but then over-the-top moments are not unusual in film presentations of Christie’s writing. She passed away in 1976, and now there are almost 200 film and TV projects associated with her work.

Love and betrayal are key elements here, and for fans of the original book and the 1978 film version, comparisons are unavoidable. Ms. Mackey’s jilted lover stalker is a marked improvement over Mia Farrow’s character, while Salome and Rosalie and terrific additions. Ms. Saunders and Ms. French follow in the footsteps of cinematic heavyweights Bette Davis and Maggie Smith, and your choice of Branagh or Peter Ustinov as Poirot is one left up to you. It’s tough to beat ‘whodunnit escapism’, though it’s a personal choice on which of Christie’s stories serve up the best puzzle pieces on the big screen.

Opens in theaters on February 11, 2022

WATCH THE TRAILER

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Posted by David Ferguson

THE SEVERING (2022)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. Mark Pellington is a renowned music video director, having worked with such acts as Bruce Springsteen, U2, Leonard Cohen, Pearl Jam, INXS, Demi Lovato, and Imagine Dragons. He’s also done TV work, as well as some feature films, including ARLINGTON ROAD (1999), THE MOTHMAN PROPHECIES (2002), HENRY POOLE IS HERE (2008), and THE LAST WORD (2017). Despite a successful and varied career, it’s difficult to imagine he’s ever had a project as bizarre as his latest “experiential” film, which was named the “Spotlight Feature” at this year’s Slamdance Film Festival.

Billed as “Pina” meets “Saw”; however, it’s difficult to believe a Pina Bausch production would offer similar style, and it’s clear that the gore and violence here is imagined and implied rather than sprayed across the screen. However, some empathy must be allowed for whomever was tasked with marketing Mr. Pellington’s film. It’s 70 minutes of interpretative dance. And I do mean interpretative. There is no story playing out, but rather sequences of dancers in what the one-time narrator describes as a fourth dimension.  

These sequences are abstract and oblique. Nothing is obvious. In fact, there is no attempt to draw us in. We are purely observers and interpreters. The title cards/text insertions are purposefully obtuse rather than helpful or inviting. The opening note in the films states that we never open ourselves to others, keeping instead to our protective shell. This sentiment is followed by dancing that represents grief, pain, sex, and other emotions.

The dancers are body-covered in chalky make-up and grease paint, while wearing non-descript skimpy costumes that more resemble tattered rags. Dark and shadowy is the best description for the lighting and you won’t find movie sets more stark than the few used here. Six dancers receive credit, and sequences feature one, two, or four dancers at any given time. These dancers are extraordinary in their athleticism, and ability to contort and twist. The same solo dancer is featured in the opening and closing, and she is especially impressive in her loose-jointed and intense floor writhing, often reaching positions that most of us can’t fathom. Every scene is shot in slow-motion, and all are accompanied by an electronic score that drones on in its sameness. Nina McNeely is the featured choreographer, and the dancing/movement is quite something to behold. We only wish it was a bit more accessible and certainly a bit shorter in run time.

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

HANNAH HA HA (2022)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. We open on Hannah and her dad relaxing by the fire pit one evening. It’s their happy place … or is it contentment? Is there a difference? This first feature film from co-writers and co-directors Joshua Pikovsky and Jordan Tetewsky, is also the first film for most of the cast, including Hannah Lee Thompson in the titular role. Ms. Thompson is a musician by profession, and she proves to be a natural in front of the camera.

Hannah is nearing her 26th birthday and still lives with her dad (Avram Tetewsky, the co-director’s real father) in a small town outside of Boston. She spends her days working the family farm, walking the neighbor’s dog, giving guitar lessons to kids, and any other odd job that might pop up or be beneficial to the community. Hannah is overweight and gay, but seems fine with her life until her corporate-type older brother Paul (Roger Mancusi) begins urging her to get a “real job” with a career path and health benefits. This leads to an awkward job interview in the city and a further blow to Hannah’s self-esteem.

Paul means well with his counseling, but is overbearing and condescending in his approach, leading Hannah to a mostly silent response. This is a textbook case of one person encouraging another to be what you think they should be, rather than what they want to be. Hannah settles on a kitchen job at a local “gourmet” fast food establishment. She’s a very hard worker and takes in the often harsh life lessons that most of us learn along the way. There is a particularly poignant scene where Hannah, while on a smoke break, quietly observes others living their life. It’s a prime example of how turning points need not be accompanied by fireworks and booming music.

The interesting contrast here is between Hannah’s relationship with brother Paul, and her relationship with her aging father, who offers his insight: “it’s good to be thinking about the future”. His statement can be interpreted multiple ways, and it’s quite likely Paul and Hannah view it differently. Hannah and her dad live a life which they are comfortable with. Is it mundane? Yes. Is it boring? Not to them. “Twilight Zone” marathons, ice cream cones, fresh tomatoes, and beer around the fire … that’s enough for them. Ms. Thompson’s restrained performance draws us in, and allows us to contemplate the importance of contentment. Worthy of its Slamdance Grand Jury Award, it’s a nice film festival entry and a debut of note from the filmmakers and Ms. Thompson.

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

KILLING THE EUNUCH KHAN (2022)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. It’s best not to take the film or its synopsis at face value. This bears no resemblance to a conventional film and the synopsis would have you thinking this is a traditional crime thriller. Iranian writer-director Abed Abest makes no effort to formulate an easy-to-follow story, and instead gives us a glimpse at war atrocities – here based during the Iran-Iraq War. Though it’s not a straightforward story to follow, the film is visually stunning and reminiscent (at times) of Jodorowsky and Kubrick.

A teenage girl and her young sister are collecting items in the yard of their large, sparsely decorated home. As they go back inside to display the reflective items, simultaneously a bombing mission is carried out. Due to storm, things don’t go according to plan. Filmmaker Abest delivers an artistic aftermath of the bombing, and we see the girls’ father return home to the tragic scene. What follows is a surreal, dreamlike depiction of the grieving father’s visions. Time, people, and events are blurred, and the visuals take over the emotional aspect.

Outside of one interrogation scene, there is very little dialogue … but plenty of walking. Much of what we see is left to our interpretation, and the imagery provided by cinematographer Hamid Khozoule Abyane is nothing short of stellar. The camera often seems to float above those we are following and red/blood flows throughout the city. Viewers who try to make sense of every scene or assemble the pieces will surely be frustrated, but the best approach is to take in the visuals and process in your own time.

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

ACTUAL PEOPLE (2022)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. Spicoli (Sean Penn in FAST TIMES AT RIDGEMONT HIGH) was the poster child for stoners in the 80’s. Julie (Deborah Foreman in VALLEY GIRL) taught us the annoying Valley Girl speech patterns, some of which have ‘like’ stuck around. The Dude (Jeff Bridges in THE BIG LEBOWSKI) epitomized slackers, and Benjamin (Dustin Hoffman in THE GRADUATE) showed the messiness of post-graduation aimlessness. We can only hope that following in these era-defining cinematic footsteps was what writer-director-producer-star Kit Zauhar had in mind with her character of Riley – the prototype of a stereotypical whiny Millennial.

Riley is an Asian-American Philosophy major with only a couple of weeks left until graduation. She’s also rudderless, frightened by the demands of independence, and unaccepting of society’s structure and demands for adults. She was recently dumped by her boyfriend of three years, and is now aimless and unable to function and effectively finish the miniscule amount of schoolwork remaining in order to graduate. Riley seems only capable of whining, while she turns her attention (such that it is) to finding a new soul mate. Somehow this supersedes her need to complete college and move on with life.

The approach she takes is all about partying. Drugs, alcohol, sex, and cigarettes become part of her daily life. Friends come and go, and cringe-inducing conversations revolve around things like Boba tea, race relations, and vagina yogurt. Riley becomes obsessed, or at least misdirected, with emotions for one particular young man. She believes that their one-night stand combined with their sharing bi-racial backgrounds and a hometown of Philly equate to their destiny of togetherness. She’s blind to the obvious disconnect with his feelings.

What we have is Riley, an aimless protagonist who seeks answers, while paying no attention to the life lessons she’s receiving. Supporting work is provided by Scott Albrecht, Randall Palmer, Isabelle Barbier, and Tanya Morgan. The latter has one of the film’s best scenes as a therapist/counselor for Riley. The stress of senior year and the adulthood that immediately follows graduation is certainly a hefty burden and one that weighs on many students. Unfortunately, Riley offers us little to care about as viewers. By this stage in life, being without a partner should not be debilitating. She’s had four years to focus on what comes next, rather than who. We see Riley reading a Miranda July book, and it would be understandable if filmmaker Zauhar models her approach after the talented Ms. July, but the incessant whining and lack of backbone would probably not be found in a July project. Riley is tough to watch, especially when her crush describes their time together (in the film’s best line) as “special in the moment, not significant.” We hold high expectations for Ms. Zauhar’s future as an actor and filmmaker, and let’s hope she’s learned her lessons better than Riley.

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

SYLVIE OF THE SUNSHINE STATE (2022, doc)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. Parenting is difficult. Pandemic parenting is a whole new level of difficult. No helpful guidebook exists and there is no recent similar time in history from which to take lessons. That leaves instinct, and in my first documentary of this year’s Slamdance Film Festival, single mother Sasha Levinson has inexplicably (and to my horror) put her pandemic parenting instincts on display for all to witness.

A terrific opening shot of Sylvie riding her bike in circles around the backyard pool reminds us that separating kids from friends during the pandemic has likely stunted the social development of many, while also forcing them into independence mode. We soon learn Sylvie is a 9-year-old in the process of repeating second grade. She has names for her many dolls and converses with an imaginary friend. Her mother Sasha has explained the purpose of filming their daily activities, and why they are quarantined.

Despite the title and the fact that the lens is regularly focused on her, this isn’t really about young Sylvie. It’s about Sasha. It’s about Sasha’s challenges with parenting, and her own self-centeredness. It’s also about Sasha’s need for emotional support, and her disturbing attempts to get her daughter to provide it. Don’t misunderstand. Sasha clearly loves Sylvie and provides a nice home. The best we can hope is that many of these mother-daughter interactions were Sasha’s attempt to create the conflict necessary for what she considers an interesting story. Whether that’s the case, or if what we are subjected to is what Sasha considers acceptable parenting, much of what we see is uncomfortable at best, and truly frightening at times.

Sylvie does have a special relationship with her father, who initially is quarantined in upstate New York. When he finally visits, we see the connection they have. But the visit is only temporary, and not long after, Sylvie has a horrific health scare that results in a seizure, ambulance ride, and a hospital stay. Once recovered, the chaos of online school is back in full force. At the end of the semester, another litmus test serves as a reminder of Sasha’s parenting skills. It turns out that her daughter … you’ll recall Sylvie is already repeating second grade … is in danger of failing yet again due to a sea of missed assignments. That’s correct. This mother has made no effort to assist her daughter with the structure and discipline required in the new world of virtual education.

Although Sylvie’s dad is living far away, other family members live close by. Grandma Mimi, Grandpa John, and Great-Grandmother Gigi (who has a real thing for ‘handsome’ Al Gore), all live nearby and get short, masked-up, socially-distanced visits. Even these rare family visits aren’t without conflict. Sasha’s strained relationship with her own mother, and the associated tainted childhood memories she has, are intensified when Sasha tries to convince Sylvie how lucky she is to have the mother she has. I’m choosing not to re-live the segments where Sylvie exhibits body image issues, or when Sasha tells her daughter, “I thought you liked your dad more.” Instead, I go back to my original confusion as to why any mother would put such emotional pressure on a young kid, film it, and then put it on display for all to see. When Sylvie asked, “Mommy, when will the virus be over?”, all I could wonder was how many kids have been so negatively impacted over the past couple of years.

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

YELLING FIRE IN AN EMPTY THEATER (2022)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. My second film at this year’s Slamdance Film Festival is the first feature from writer-director Justin Zuckerman. After some retro opening credits showing 1970’s New York City, the story focuses on 21-year-old Lisa (Isadora Leiva), who is pursuing her dream of relocating to the Big Apple (she even wears apple core earrings) after graduating from Florida State University.

Lisa’s plan of “no plan” exemplifies her naivety towards real life, and she’s about to get a front row seat to what the real world and ‘adulting’ is all about. She’s been offered a spare room in the apartment Holly (Kelly Cooper) shares with her musician boyfriend Bill (Michael Patrick Nicholson). Lisa’s mom and Holly’s mom are friends from back home. The first speed bump in Lisa’s NYC dream is that while Holly promised the room to her, Bill had promised the room to his friend Doug (Colin Burgess), who is slated to arrive in a couple of weeks. This is only the first indication of the tumultuous relationship that Lisa has been plopped into.

Of course, any of us who aren’t 21-year-old dreamers know fully well that this won’t be the last complication or rude awakening for Lisa in her ‘New York experience’. And, oh my, how the script delivers on that. The film works thanks to the strong writing and the fine acting, especially from Ms. Leiva, a relative newcomer to the big screen. She is bright-eyed and engaging, and we root for her despite her Pollyanna hopes. Two others in supporting roles include Ryan Martin Brown as Lisa’s boyfriend from college, and Austin Cassell as a co-worker who secured his position because his uncle “owns the place”. Both deliver life lessons to Lisa.

Lisa’s story and the characters in the film keep us interested despite the distracting technical issues that challenge us. Scenes are regularly out of focus, the shaky-cam moments are extreme, and the sound is so ‘in and out’ that we often strain to hear some dialogue. Slamdance is a festival that celebrates independent and low-budget filmmaking, but that doesn’t excuse sloppy work. Still, beyond that, it’s a nice project from a promising new filmmaker, and it features a line of dialogue that will stick with me: “Everything makes sense when you’re in college.”

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

THE CIVIL DEAD (2022)

February 6, 2022

Slamdance Film Festival 2022

Greetings again from the darkness. What a terrific film to kick off this year’s Slamdance festival! Writer-director Clay Tatum and co-writer Whitmer Thomas co-star in their own story that brings the “old” meaning of ghosting back to the forefront. But fear not, this is about as scary as the clip from the classic cartoon “Casper the Friendly Ghost” that’s included. Rather than spooky horror, this is about comedic situations involving a particular ghost (not named Casper).

Clay (Tatum) is a frumpy slacker who fancies himself a photographer, but lacks the drive to market himself or his work. He does, however, think a different haircut might help, even if he wields the scissors himself. His wife Whitney (Whitney Weir) chuckles at the idea, but seems extremely supportive (or forgiving) of her husband’s lack of effort in life. While Whitney’s away on a business trip, Clay seizes the opportunity to eat and drink the hours away, somehow accomplishing less than he would on a typical day.

Displaying an unusual spark of inspiration, Clay crafts a scam to raise his share of the rent … proving his lack of drive might actually be his finest quality. Later, while out taking pictures, Clay runs into his old friend Whit. They may be from the same hometown, but there is something a bit off in their re-connection. Clay tries to part ways, but Whit’s having none of that – he’s thrilled to be seen by his old buddy.

Robert Longstreet adds a jolt of energy in a poker sequence that evolves into a slow-motion booze-filled musical interlude. It’s yet another example of Clay’s moral compass, but most of the movie revolves around the interaction between Clay and Whit … and that’s fertile ground for some laughs and a premise that works pretty darn well. The filmmakers start us with a prologue with a bump in the night, though we aren’t really allowed to understand it until near the end of the film. It’s a nice start to the festival and an impressive project from the young filmmakers.

**Slamdance Film Festival embodies its mantra: By Filmmakers, For Filmmakers. Though Slamdance has greatly evolved since the early years, its mission and organization remain the same. Slamdance serves new and emerging artists, filmmakers, and storytellers from around the world. Slamdance programmers gravitate towards films that embody the true spirit of DIY guerilla filmmaking.

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Posted by David Ferguson

THE WORST PERSON IN THE WORLD (2022)

February 4, 2022

Greetings again from the darkness. It’s often fun when an innovative filmmaker turns a stodgy genre upside down and offers us a new take. And who better to flip over the frequently stale mode of romantic-comedies than Norwegian auteur Joachim Trier? Co-written with his frequent collaborator Eskil Vogt, the film could also be described as a dramady or a thirty-ish coming-of-age tale. Regardless of the label, it’s entertaining and thought-provoking, as well as being a bit dark in parts (some of these also being quite funny). This is being called the final film in Trier’s “Oslo Trilogy”, three loosely connected films including REPRISE (2006) and OSLO, AUGUST 31 (2011).

Each of the films represents quite a shift in tone, and this latest revolves around Julie, played exceptionally well by Renate Reinsve. Trier structures the film as 12 chapters plus a prologue and epilogue. The prologue is brilliant and allows us to quickly grasp what we need to know about Julie. She changes her life goals multiple times – from doctor to psychologist to photographer, and later while working in a bookstore, she decides to be a writer. Thankfully we are spared the details in her essay on oral sex in the #MeToo era. Julie is impulsive to a fault. She has confidence but can’t commit to a direction – she’s confident in her uncertainty.

As she approaches 30, Julie is struggling to find her way. She’s not so much lost as struggling to deal with her jumbled thoughts. Can you lose your identity if you haven’t yet formed one? That seems to be the crux of Julie’s inner-struggles, even as she finds a seemingly good fit for a partner. Aksel (a terrific Anders Danielsen Lie) is a successful graphic artist, and he seems to understand Julie. Their relationship builds over time, even as their individual visions and goals diverge. The best life partner still comes with challenges when you still aren’t sure who you are as a person.

Julie feels herself slipping away, and that’s when her impulsive nature reappears. During a special event for Aksel, she walks out and spontaneously crashes a local wedding reception. This leads to a meet cute and flirty time with Eivind (Herbert Nordrum). Both he and she are in steady relationships, but only Bill Clinton could determine if the time Julie and Eivind spend together is cheating or not. Ms. Reinsve perfectly captures the spirit of Julie. Although she’s often a bit flustered, when she does smile, she radiates like a young Shelley Fabares.

Much has been made of Ms. Reinsve’s performance and she certainly deserves the accolades. However, we shouldn’t overlook the outstanding work of Anders Danielsen Lie in a difficult role. Filmmaker Joachim Trier’s previous work also includes THELMA (2017) and LOUDER THAN BOMBS (2015), and his creativity is most welcome. Two sequences stand out in his latest. In one, the world shifts into ‘freeze frame’ mode as Julie runs through the streets of Oslo to find her new love, and in the second, we follow her in the midst of a drug hallucination after experimenting with mushrooms. In the story, Trier focuses on the dynamics between partners and how the stages of life can complicate things. It’s charming and funny, but also quite serious, as he certainly doesn’t buy into the ideal that movies must have happy endings. In regard to the title, rather than describe Julie, it’s more likely meant to explain how many people think of themselves as they make decisions and mistakes – it’s really a show of humanity. And quite a good one.

Opening in limited theaters on February 4, 2022

WATCH THE TRAILER

Leave a Comment » | Comedy, Drama, Rom-Com, World Cinema/Foreign | Tagged: , , , , | Permalink
Posted by David Ferguson

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