Image via miff.com.au
Climax is a drug-infused, sweaty and self-indulgent nightmare. It immerses you in a single night with a bunch of unlikable dancers as bad things happen to them. Continue reading
Climax (2018)
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Transit (2018)
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I wasn’t expecting to be charmed by Christian Petzold’s inventive rethinking of a well-worn World War II movie trope. To all intents and purposes, it is a period drama akin to Casablanca, complete with third-person narration, a mysterious dame and uniformed guards with dogs. However, the backdrop is inexplicably and unapologetically modern day France. Continue reading
Sofia (2018)
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It is the unflinchingly scrutiny of the doleful Sofia’s face that made this film for me. Behind that impassive mask, that became animated only at certain moments, I could see the naivete that had brought Sofia to this untenable point in her life. Continue reading
Sorry Angel (Plaire, Aimer et Courir Vite) (2018)
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This exquisite and heartbreaking film by Christophe Honoré felt like a more whimsical but no less real partner to last year’s BPM. The Anglicised title doesn’t do it justice, and I prefer the original that loosely translates as “pleasure, love and run fast.” Continue reading
Lost in Paris (Paris Pieds Nus) (2016)
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Jacques Tati lives on in this featherlight slapstick farce from duo Fiona Gordon and Dominic Abel. Continue reading
C’est La Vie! (Le sens de la fête) (2017)
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C’est La Vie! is a wry and heartwarming French comedy about love, napkin twirling and the frustrations you feel when nothing goes quite as planned. Continue reading
Bright Weakness (Maryline) (2017)
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Some films knock you sideways with unexpected brilliance and Maryline, retitled for the Alliance French Film Festival as Bright Weakness, is one of those. Heartfelt, subtle and unexpected, I could not look away from Adeline D’Hermy’s mesmerising performance. Continue reading
