Okay full disclosure, I have a bias towards Nicolas Cage films. He won me over with The Unbearable Weight of Massive Talent and now I get as much enjoyment out of his films that are badly scripted and acted as I do from the good ones.
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Sequels come with expectations, perhaps of inevitable disappointment. The two predecessors to this film were solid, tense and imbued with the adorable coupledom of John Krasinski and Emily Blunt who further burrowed into our hearts during Covid with their goofy charm.
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If you’ve seen The Intouchables (2011) or The Extraordinary (2020), you’ll know that co-directors Olivier Nakache and Eric Tolenado have a deft hand at giving us emotional, character-driven stories that also tackle important social issues.
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This Spanish historical drama directed by Patricia Font was a recommendation by a dear friend and it was only one session a day so I’m sure it will disappear from cinemas soon.
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I’m a bit of a fan of a good 1940s film, specially when it is restored and shown up on a big screen. This one was scheduled because there was a Powell and Pressburger documentary at the festival this year and it was a pleasant way to pass the last Sunday morning of MIFF 2024.
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After sitting through four hours of McQueen’s Occupied City, I walked into slow cinema maven Tsai Ming Liang’s 70 minutes of a monk walking slowly.
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There is nothing really to criticise about the quality of this film. It is a delicate and tender portrait of a lesbian couple in Hong Kong, made tragic by the death of one that then cuts the other adrift with no rights in a heterosexual and patriarchal society.
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This one will stick in your mind whether you love it or hate it. It’s like Fish Tank meets Kajillionaire.
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I found this documentary hard going. If I’d seen it at the start of the festival and less tired, I might have been awed by the technique of overlapping footage with disconnected but meaningful audio.
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