THE RULE OF JENNY PEN (2025)

March 7, 2025

Greetings again from the darkness. John Lithgow frequently plays likable characters that take advantage of his innate ability to connect with viewers as an ‘every-man’ type – often reminding us of people we know. However, over his career that spans approximately fifty years, I’ve always been more interested and more intrigued when nice guy Lithgow plays the villain (see “Dexter”). It takes a talented actor to be believable as characters we love and characters we loathe. Writer-director James Ashcroft and co-writer Eli Kent have adapted Owen Marshall’s oddball short story into an equally oddball feature film.

As the film opens, (Oscar winner) Geoffrey Rush is Judge Mortensen, presiding over a contentious court case. As he is providing his findings, the honorable judge begins sweating and having difficulty conveying his thoughts … even clumsily handling a glass of water. It’s obvious he’s showing signs of a stroke, and ultimately collapses on the bench. As painful as this sequence is, it pales in comparison to what awaits Mortensen.

The judge is checked in to a rehab facility and rest home for the elderly. What he discovers is that one of the patients, Dave Crealy (Lithgow), thrives on physical and psychological abuse of the other patients. His reign of terror involves a plastic doll named Jenny Pen, and the two of them make nightly rounds torturing that evening’s unlucky victim(s). The bit of fun here exists in the head-to-head battles between the psychotic Crealy and the physically limited Judge. There is also a nice touch with a local cat that compares to the appearance of oranges in THE GODFATHER. If you know, you know.

Lithgow sports an Aussie accent and hillbilly teeth, while Rush spouts crisp and intelligent dialogue with a dose of arrogance that turns into bewilderment. Of course, most of this makes little sense as the facility would likely have security cameras capturing Lithgow’s late night wanderings, or at the least enough of an overnight staff that might glimpse his movements. And at some point, enough patients would team up to narc on the resident psycho bully. It’s these details that prevent this from being a top notch psychological thriller, although watching two masters like Lithgow and Rush go at each other provides plenty of entertainment.

Opens in theaters on March 7, 2025

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Posted by David Ferguson

QUEEN OF THE RING (2025)

March 7, 2025

Greetings again from the darkness. Even among sports fans and women’s activists, Mildred Burke is not a household name. Writer-director Ash Avildsen and co-writer Alston Ramsay set out to correct this by adapting Ms. Burke’s own writing and the 2010 book “The Queen of the Ring: Sex, Muscles, Diamonds and the Making of an American Legend” by Jeff Leen. Avildsen is the son of Oscar winning director John Avildsen (ROCKY, 1976; THE KARATE KID, 1982)

Mildred Burke was a three-time World Champion in Women’s Wrestling, and the first million dollar female athlete. Her career spanned the 1930’s into the 1950’s, and the film opens in the ring during the brutal 1954 Women’s World Championship match. Rather than finish that match, filmmaker Avildsen holds that until the finale and instead flashes back to Burke’s early obsession with her desire to wrestle. Emily Bett Rickards (“Arrow”) stars as Mildred, and she possesses the physicality and charm to pull off what we’d expect from a pioneer in women’s sports. She displays toughness, determination, and talent in the ring – plus the savvy needed for marketing herself and the sport.

There are some issues with the movie. At times it’s difficult to follow the timeline and it is uncomfortably choppy in its storytelling approach. However, the dynamics of this woman and her true story are such that we focus on the good stuff and appreciate her accomplishments. Additionally, there are some strong supporting performances. Josh Lucas plays wrestler Billy Wolfe, who recognizes Mildred’s potential and becomes her promoter, her loving husband, her cheating husband, and her business partner. Walton Goggins plays legendary promoter Jack Pfefer, Tyler Posey plays Wolfe’s son and Mildred love interest G Bill, Francesca Eastwood (yes, Clint’s daughter) plays wrestler Mae Young, Adam Demos plays Mildred’s friend and popular wrestler Gorgeous George, and Gavin Casalengo portrays Mildred’s son.

We learn her story dates back to a time when many laws prohibited women from wrestling, and Mildred’s early opportunities took place at traveling carnivals. Her motivation led to her pledge to her toddler son that they would not live an ordinary life … and wrestling got her out of the apron at her mom’s café. There is an obligatory training montage, and there is even a moment when Mildred’s impact is compared to Jackie Robinson breaking the race barrier in baseball. The terrific soundtrack (not quite to the level of AMERICAN GRAFFITTI) helps offset some of the cheesy posing and strutting, even though these were keys in Mildred gaining popularity. Filmmaker Avildsen ends the film with photos and bio profiles on each of the characters as the closing credits begin. It’s a fitting end and tribute for those who drove the early days of Women’s wrestling.

The film opens in theaters on March 7, 2025

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Posted by David Ferguson

SLAMDANCE FILM FESTIVAL 2025 – short films

February 28, 2025

SLAMDANCE FILM FESTIVAL 2025 – Short Films

Below are recaps of some of the short films I watched at this year’s Slamdance Film Festival.

FISHMONGER (25:30)

No rules apply to film festival shorts and writer-director Neil Ferron and co-writer Alexandra Dennis-Renner succeed in pushing the envelope with their surreal spin on Catholic mythology. Accurately billed as a supernatural dark comedy, the film plops us right into the middle of a crisis taking place on a remote Irish island. Christie O’Mallaghan’s mother is in the throes of a self-inflicted disease that finds her near death, and with sores that spew puss on him whenever he gets near.

Local beliefs are that if a mother passes, leaving an unmarried son, her soul is to burn for eternity. Christie loves his mother (having been dependent upon her in the cringiest of ways), and now, to save her soul, faces the choice between suicide and marrying the only unwed woman on the island, Penny O’Brien (played by Penny O’Brien). Since the two have never spoken, the latter seems unlikely. Father Heaney (Mark Bramhall) offers a possible solution. Christie, a hapless fisherman, is to paddle out to the cove, offer up specific gifts to the sea creature, and request his wish be granted to marry Penny.

The sequences here include a duet right out of a stage musical; tentacle sex with Sinead the sea creature, the likes of which caused me to look away; and a developing love story yielding yet more cringing (from me). Dominic Burgess plays Christie, Donnla Hughes is Sinead, and Mari Weiss is the suffering mother. It’s a bonkers premise that will surely draw comparisons to Robert Eggers’ excellent THE LIGHTHOUSE (2019). And though we admire Christie’s apparent willingness to do whatever is necessary to save his mom, the ending is sure to stun.

ONE REHEARSES, THE OTHER DOESN’T  (15:00)

As part of the “Experimental” category, this short from writer-director Jessica Hankey was co-written by playwright Victor Kaufold and the film’s subject, Marjorie Annapav. Ms. Annapav plays herself in the film as she engages with Gerrie (Ann Randolph), a performance teacher, so that Marjorie’s life can become a stage presentation.

Admittedly (and purposefully), this one is a bit tricky for viewers to follow. It’s more like a slideshow of the process, with the insight coming from the verbal exchanges between the women, at least more so than in the physical performances. There is a sequence regarding a once heavily-used Rolodex that provides some context, yet mostly this requires focused attention from viewers to grasp the specifics of Marjorie’s life, including her marriage to surrealist and pop artist, William Copley.

GURGLING  (13:06)

A conversation with a girlfriend leads to confession that a previous boyfriend broke up with her since she “lacked imagination”, a break-up that led to the friend taking advantage of the situation. Writer-director Christine Margaret Wu seems to really understand the young housewife who spends her days caring for her elderly in-laws while her husband works.

That same husband is constantly ‘too tired’ to show her any affection, so when she notices a voyeur spying on her while she showers, something ignites within her. She so longs to be desired and appreciated as her husband builds a “safe and stable life”. The film is from Taiwan and expertly captures the woman’s pent-up emotions.

THE SPHINX  16:22

Well, surely this one has a premise you’ve never seen before, even though I won’t spoil it for you. Writer-director Jesse Padveen takes us on a first date. The couple is awkwardly conversing in a restaurant booth. As the young man spins the tale of how he became a locksmith, the woman struggles to maintain some level of interest – or at least tries to appear that she’s listening.

Suddenly something jarring occurs sending the man off to ‘fix’ the issue. He’s embarrassed but she’s now surprisingly intrigued. The two head off to her friend’s party where he’s encouraged to perform his special party trick. This leads to humiliation for the man, and we follow him first to his mom’s place, and ultimately to his dad’s … where one of our questions is answered and we also learn of his dad’s specific (and understandable) fetish. This one is for those anxious to see a creative short.

TWO OF HEARTS 5:56

Although it’s slotted in the “Narrative Shorts” category, this quirky little film from writer-director Mashie Alam includes very little of anything we would traditionally label as narrative, at least conventionally speaking. With an opening credit that gives off soap opera vibes, we are soon engulfed in an oddball (limited) verbal competition between brother and sister.

“It’s always been the two of us” leads into each of siblings battling the other with the same comeback, “It should be you.” It’s not until the end when we are clued in to what they are debating, but it’s clear they are building up to a big decision … one they must come to agreement on. Equally surprising is how this sharp looking film concludes with Nilsson’s “Everybody’s Talking”. Given how things are these days, it’s a relief to see any debate end with benevolence.

DEATH DRIVE  5:55

The woman shoves a handgun into the glove compartment of a classic Ford Mustang. Is she headed out to kill? To be killed? To see where the night takes her?  We are never really sure of much other than she loves to give that car the gas. A dashboard camera and the squealing tires keep us a bit disoriented, but then so do the images of the mostly elderly folks illuminated by the car’s headlights.

The only clue we have is the idling black sedan that may or may not be death, and may or may not be after the woman this evening. Writer-director Eli-Bella Wood also plays the woman who is driving, and the artsy slow-motion effects and the nighttime setting combine with the lack of dialogue to make this a film that revs in your mind … even after the man on the horse tips his Stetson.

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Posted by David Ferguson

PORTAL TO HELL (2025)

February 28, 2025

Slamdance Film Festival 2025

Greetings again from the darkness. Every year this festival serves up at least a few feature film debuts that not only entertain, but also instill optimism for future projects. Writer-director Woody Bess has delivered an amusing debut that fits snugly in the rare genre of comedy-horror. As an added bonus, the acting is pretty darn good as well.

Dunn (Trey Holland) works as a bill collector for a medical provider. Working from home, he keeps the office well organized with a wall of post-it notes, while spending most of the day on the phone offering payment ‘options’ to folks who continually find new ways to verbally abuse him and his collection efforts. Needing breaks from the calls, Dunn spends what seems to be an inordinate amount of time at the nearby laundromat. While there, he notices one of the machines appears to be a flaming portal to hell. He notifies Ed (Romina D’Ugo), the manager, who is more concerned about losing her job than the oddity and danger of the situation. This is all handled with deadpan nonchalance, adding a dose of humor to a fiery situation.

The shenanigans that unfold include Dunn’s neighbor (Keith David), who has terminal cancer and offers up the wisdom of “watch your own ____” … well, I leave that last word to your imagination; Rip, an amorous drug dealer with a business card and a motorcycle; and a gregarious demon named Chip (Richard Kind), who enjoys beer and phone conversations and cuts a win-win deal with Dunn. There is even a jab at Hot Chelle Rae and their 2011 (somewhat irritating hit) song “Tonight Tonight”. Band member Ryan Follese even proves he can take a joke. The film offers some thoughts on good people versus bad people, but mostly the message is: give yourself a second chance to do what’s right. If not, you may be getting thumbs up from Chip the demon.

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Posted by David Ferguson

SUPERBOYS OF MALEGAON (2025, India)

February 28, 2025

Greetings again from the darkness. These are the kind of movies that it’s a pleasure to champion. Writer-director Reema Kagti and co-writer Varun Grover have produced a feel-good underdog story based on what a few folks actually accomplished in Malegaon, a small, poverty-stricken town in India. This inspirational true story opens in 1997 and is told in the Hindi language with subtitles.

Adarsh Gourav (THE WHITE TIGER, 2021) stars as Nasir, a videographer and photographer who uses his love of cinema to show Charlie Chaplin and Buster Keaton movies in the backroom of his brother’s shop. The size of his audience jumps when Nasir figures out how to use iconic scenes of those classic for comedy mash-ups to get people really laughing and enjoying themselves. As you might guess, video pirating was as frowned upon in 1997 as it is now, so after being forcefully shut down, Nasir had the bright idea to create his own parodies using local talent (aka friends).

The locals have a grand time working together, and those early auditions are a hoot. Their first production is a big hit! During this time, we see Nasir as a focused, dedicated filmmaker who leans heavily on Farogh (Vineet Kumar Singh) and Shafique (Shashank Arora), as well as some other friends. Farogh envisions himself as a serious writer … “The writer is the boss!” … and doesn’t buy into these silly parodies. Shafique is Nasir’s best friend, and he quietly dreams of becoming an actor while carrying out all of the tasks to make Nasir’s job a bit easier. Shafique is later part of a tender love story with the group’s lead actress (Manjiri Pupula). It’s also during this time that Nasir loses his girlfriend to a marriage arranged by her parents.

The story skips ahead to 2004, finding a backlash against Nasir from his friends who feel taken advantage of. He also experiences his first flop and himself becomes part of an arranged marriage (bride played by Muskkaan Jaferi), although he still carries a torch for his first love. The backlash appears to have exposed Nasir’s selfishness and clueless focus on film rather than people. Interestingly, there is an underlying theme of originality – what is it, and is it important in movies or not? It’s a question the industry still struggles with today.

Jumping to 2010, Shafique’s situation is the driving force behind friends reuniting and the most creative and personal movie project yet for Nasir. Much of the story revolves around chasing one’s dreams, the importance of friendship, and the urge to create art, specifically movies that entertain. The inspirational final act reminds us that everyone deserves to be a star at least once, and the value of friendship is priceless. There is a 2008 documentary titled SUPERMEN OF MALEGAON that focuses on the early days of filmmaking for these underdogs, and would be a nice complement to this film from Reema Kagti, whose end credits recap the real people portrayed in the story.

Opening in select theaters on February 28, 2025

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Posted by David Ferguson

VERMIGLIO (2024, Italy)

February 21, 2025

Greetings again from the darkness. It’s 1944 in the mountainous northern Italy commune of Vermiglio. WWII has been raging for years, and even the families in this remote village have felt the effects. Writer-director Maura Delpero has delivered a beautiful and touching film that follows the four seasons. There is little wonder this was Italy’s Oscar submission for Best International Film. Although it missed on a nomination, it’s still one of the best films from 2024.

Much of this story focuses on the local schoolmaster’s large family. And by large family, I mean the mother delivers her tenth child during the story. It’s a close-knit community – the kind where everyone knows everyone else’s business. Secrets are difficult to keep, yet they play a vital role in the proceedings. First of all, Pietro is a Sicilian who has gone AWOL during the war. He’s hiding out in the barn, yet all the locals are aware. Then we have second oldest daughter Ada, whose developing desires take her “behind the wardrobe”, necessitating her cutting deals with God for self-inflicted punishments, becoming more severe with each episode. And lastly, we have the film’s biggest secret – a whopper that shocks the family.

This is a beautiful film shot in a beautiful part of a beautiful country. The seasonal changes provide built-in colors and textures delivering a contrast to the mostly serene characters. Lucia, the eldest daughter, is attracted to Pietro. A stolen kiss and a hand-drawn heart lead to much drama, and ultimately, tragedy. A couple of the other kids have significant roles, but Lucia’s journey is the main focus. There is a quietly stunning moment when Pietro asks Lucia’s father for her hand in marriage.

The slow and steady and sometimes disturbingly quiet pace of the story will likely not appeal to some viewers, but the subtlety displayed is enchanting and mesmerizing. There are moments of heartbreak, and we realize that this family and these local people are tough … they’ve learned how to survive and continue on, despite challenges. The concern about one being “ruined” makes for interesting conversation, and offers quite an example of how times have changed. This is a terrific drama that hopefully many will give a chance.

Opens in theaters on February 21, 2025

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Posted by David Ferguson

SUZE (2025)

February 9, 2025

Greetings again from the darkness. Empty nest syndrome has always fascinated me. As parents, we strive to build independence in our kids so that they can go out in the world and fend for themselves (better described as not moving back home or remaining on the family ‘payroll’). And then there are parents like Susan in this excellent and entertaining new film from co-writers and co-directors Dane Clark and Linsey Stewart (partners, spouses, and collaborators).

We first see Susan (Michaela Watkins) as she arrives home and finds her husband and a woman canoodling in the backyard swimming pool. The story then jumps ahead five years. Susan is divorced and her daughter Brooke (Sara Waisglass, TAINTED, 2020) is graduating from high school, with a plan to live at home and attend a local college. Susan is a hovering parent, seemingly involved in all aspects of Brooke’s life – even questioning what her daughter sees in goofy and free-spirited Gage (Charlie Gillespie, TOTALLY KILLER, 2023), the boyfriend who couldn’t manage to graduate on time.

Susan is exasperated … or maybe just beaten down … with her life. She works a dead-end job, is in perimenopause, has no love life of her own, can’t believe her overachieving daughter is with this ‘loser’, and seems to have lost any portion of her own self while being a mother. Things go from bad to worse for her when her ex-husband and his new wife (Sandy Jobin-Bevans, Sorika Wolf) spill the beans on big news about Brooke. It’s news that shocks Susan – mostly because she was the last to know. Now for all of this to work, the extraordinary talents of Michaela Watkins (YOU HURT MY FEELINGS, 2023; PAINT, 2023) carry these scenes. She flashes the greatest forlorn face in cinema. Is this kinda funny or is the pain too deep? Well, it’s both.

The film really takes off from there. Circumstances are such that Susan and Gage are forced to spend significant time together, and what follows is an example of how humanity and emotions and personality can blend to form surprising bonds. The on-screen chemistry between Watkins and Gillespie is a thing of beauty. It’s not romantic chemistry, but rather two lonely souls from different generations learning and evolving thanks to each other. Once we meet Gage’s dad (Aaron Ashmore), much is understood as to why Gage thrives from Susan’s caring approach.

This script is beautifully written, and the acting is superb. The cast excels in playing the scenarios as real people would. The dialogue is grounded, yet sometimes it stings, while at other times it evokes laughter. When Gage tells Susan, “We both got left by the same person”, their bond is solidified – even moreso than after the ‘cuddle party’. The cherry on top here is Gage performing Roxette’s classic hit, “It Must Have Been Love”. The film was well received at festivals last year, and I expect it will find an appreciative audience this year.

Opens in theaters on February 7, 2024

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Posted by David Ferguson

I’M STILL HERE (2024, Brazil)

January 11, 2025

Greetings again from the darkness. True stories are often at the heart of many movies each year. However, there are true stories and then there is the story of the Paiva family. Marcelo Rubens Paiva has written two books, which along with numerous interviews with family and friends, serve as the basis for this film from famed Brazilian director Walter Salles (THE MOTORCYCLE DIARIES.2004). The screenplay comes from co-writers Murilo Hauser and Heitor Lorega.

Unless you are a history scholar, it’s highly unlikely you can recite the various Latin America dictatorships and military coups over the past decades. Yet you surely know they have happened, and that many innocent people and families have been victimized. The Paiva family is one example, and their story is gut-wrenching. The film begins in Rio de Janeiro in 1970 when military rule was in place. Director Salles affords us plenty of time to get to know architect Rubens Paiva (Selton Mello), his wife Eunice (Fernanda Torres), and their five kids. Theirs is a happy family living a pleasant and comfortable life … gatherings on the beach, music and dancing, family meals and photos. In one moment, the happiness fades and things change forever.

A group of men show up to escort Rubens (a long-ago local Congressman) in for a deposition. He smiles and tells the family that he will be back soon. The saga of this family is torturous to watch. Eunice and her oldest daughter are soon taken in and held for questioning in what appears to be some type of prison or military facility. They learn Rubens is accused of being a communist. Eunice’s return home is a beautifully filmed sequence, as it’s nighttime and the kids are sleeping.

The next morning’s reunion is touching, yet now the reality has hit for the older daughters. Eunice kicks into strong woman mode to protect her “babies”. The story shifts significantly here since the wage earner is gone. Eunice sells the house and the family moves to Sao Paulo. Eunice handles the extreme stress, continues caring for her kids, and never stops trying to find out about Rubens.

The journey of Eunice could easily fill a movie, however, Salles chooses to jump ahead 25 years (to 1996) and then again to 2014, when the family is together and wheelchair bound and Alzheimer’s stricken Eunice is played by 95-year-old Fernanda Montenegro (Oscar nominated for CENTRAL STATION, 1998), the real-life mother of Fernanda Torres. During these segments, we figure out what an impressive woman Eunice is and how much she has accomplished through determination. It’s likely a death certificate has never been more valued or more pursued than the one Eunice finally receives. We also see her son Marcelo is now physically disabled, yet becoming famous as a writer.  

Director Walter Salles knew the Paiva family quite well when he was young, and his personal connection shines through in this ode to a family shattered by political turmoil. Fernanda Torres delivers a stunning performance with more emotional depth than just about any other acting performance we’ve seen this year. Salles details that more than 20,000 citizens were tortured and held captive over these years, and via the closing credits he runs archival photos and a recap of history. Seeing the stress and turmoil of a previously happy family is not an easy watch, yet perhaps the accomplishments of Eunice help offset some of the pain.

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Posted by David Ferguson

WILL & HARPER (2024)

January 11, 2025

Greetings again from the darkness. Realistically speaking, there should be more words for ‘friendship’, designating the multiple levels on which ‘being friends’ can occur. If Financial Advisors can have “A” (like Warren Buffett), B, C, and D (like me) clients, then wouldn’t it be reasonable for us to have levels of friendship for those we entrust with our kids and a house key versus those we meet periodically for happy hour, or those we acknowledge in the grocery store with a wave and a smile? OK, so while the viability of friendship by ranking is not likely, this latest from Josh Greenbaum (BARB AND STAR GO TO VISTA DEL MAR, 2021) introduces us to a friendship we can all strive for.

Andrew Steele was the head writer for “Saturday Night Live” from 1995 through 2008. Nominated many times for Emmys and WGA awards, he won an Emmy in 2002. During the time at SNL, Steele struck up a friendship with the great Will Ferrell, who was a memorable cast member from 1995 through 2002, before striking gold in movies. Almost thirty years into the friendship, Steele informed Ferrell that Andrew was now Harper (an interesting story behind the name choice), and her transition had begun in 2022. Now, keep in mind that Will Ferrell is a guy in his mid-50’s. Sure, he’s been around Hollywood for decades … but still, this information from a long-time friend would surprise most anyone.

Going back to levels of friendship, Ferrell suggests the two take one of Harper’s beloved cross-country road trips together. Watching the film, it plays like Ferrell prefaces this as a way for the two to reconnect, but on a deeper level, it translates into Ferrell making it easier for Harper to get more comfortable in public with her new self. Either way, this is a friendship to admire and the type of character we should each respect.

We have all seen many movies where buddies take a road trip together. However, these 16 days become much more personal and eye-opening than the average buddy flick. The two friends exchange personal details, and respectfully, Ferrell allows Harper to vocalize and process what this new identity means, how it feels, and how she is accepted by others (who are not long-time friends). There are many stops along the way, including parking lots, sporting events, and a dive bar in Oklahoma. Most of this provides some insight, although the over-staged bits (disguises) seem out of place.

Will Ferrell does in fact reward us with doses of humor. “Are you a worse driver now?” is an instant classic, and their friendship-based banter helps us feel like we are along for the ride. There are segments featuring Harper’s daughters and SNL celebrities, and Harper sometimes reminds us of her prolific comedic writing skills. Perhaps the most telling interactions are those with strangers – related both to Ferrell’s status and Harper’s gender. These days, there is a growing anti-trans sentiment that threatens to destroy the advances made over the past years. It seems to me that the message being delivered here is not one of celebration or special treatment, but rather acceptance and friendship … allowing adults to be who and what they want to be, as long as they aren’t harming others. That also seems like the definition of human decency. This one will likely have you analyzing your own reactions, and you’ll definitely want to stick around for Kristin Wiig’s remarkable song at the end.

available on Netflix

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Posted by David Ferguson

THE SEED OF THE SACRED FIG (2024, Germany)

January 10, 2025

Greetings again from the darkness. In the year of long movies, this is one of the longer ones at two hours and forty-eight minutes. Also, in the year of only a few great movies, this is one of them. Writer-director Mohammad Rasoulof was arrested and sentenced for criticizing the Iranian government. He subsequently escaped and fled the country, only to show up for his film’s premiere at the Cannes Film Festival. This is Germany’s submission for the best Foreign Language Oscar.

On the surface, this seems like a simple story. Amidst severe and sometimes violent political unrest in Tehran, a man’s gun goes missing, which could cost him his job. He proceeds to accuse his wife and daughters of taking the gun, and takes such extreme measures in solving the theft that he destroys the fabric of the family. In the United States, we have recently witnessed how political discord can negatively impact family bonds, yet this pales in comparison to what occurs in countries like Iran. The violence in the street too often results in bloodshed that finds its way into homes.

Iman (Missagh Zareh) has not yet had time to celebrate his job promotion in the prosecutor’s office when he’s expected to file a false report regarding a case investigation. The result of the report would likely lead to the prisoner’s execution. It’s just ‘playing ball’ … or office politics (unless of course you are the one to be executed). The increased perks with his new position also bump up the level of danger for Iman and his family. As often happens with the younger generation, his daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki) support the rebellion, which puts their mother Najmeh (Soheila Golestani) in the unenviable position of disagreeing with her daughters, yet having to protect them from their establishment father.

Director Rasoulof expertly weaves storylines of politics, family dynamics, societal upheaval, and generational differences into an incredibly interesting and often tense film without sugarcoating with unnecessary cliches or easy answers. This is what real life can look like – decisions have ramifications. Fingernail polish and protests can be related, and once again we see that it’s not paranoia if they are after you.

The film opens with an explanation of the sacred fig, and as the story unfolds, we catch the tie-in. We know that times change, and each generation brings new ideas and preferences. We also know that these transitions can range from clunky to violent. There is an extremely effective chase scene through the ruins of a deserted town, and it plays directly to the point that these family members are on different tracks. Rasoulof includes clips of real protests, as well as the gut-wrenching no-win situation Najmeh finds herself in. It’s a terrific performance by Soheila Golestani in a terrific movie from Mohammad Rasoulof.

WATCH THE TRAILER

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Posted by David Ferguson

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