October 10, 2022
Stars At Noon (2022) *****
Enigmatic, mesmerizing and sensuous drama set in totalitarian Nicaragua during the Covid lockdowns. A masterpiece of "exotic/erotic" cinema. But instead of an Emmanuelle-style fantasy, we have a realistic portrait of a real woman forced to humiliate herself and to sell her body in order to survive and escape from a totalitarian nightmare. Winner of the Grand Prix du Jury at the Cannes Film Festival and Margaret Qualley's most memorable acting performance to date.
Bardo False Chronicle Of A Handful Of Truths (2022) ****
Uneven, but often brilliant film that explores Mexican history and identity in a deeply allegoric and personal way.
The Whale (2022) ****
Almost every film review of this film describes it as a story of an overweight man and his problems. It is not. It's a story of an angry young girl lashing out at the entire world and coming to terms with a traumatic event from her childhood when she was eight and abandoned by a father whom she adored. One of Darren Aronofsky's best films.
Tell It Like A Woman (2022) ****
An impressive achievement. Not so much for the technical craft or the directorial vision (except for the Lucia Puenzo's episode, which is indeed superbly directed). There is a thematic coherence between the first five episodes. But what really stands out is the simplicity and the emotional rawness, especially in the first two episodes. They are incredibly moving and touching in the most visceral way. The first story especially serves us a gut punch on many levels. What makes it stand out is how completely it makes us identify with a mentally challenged woman undergoing a psychotic crisis and how she manages to get out of it. The tension is unbelievable. The next two episode also deal with mental illness, but in a softer manner. The second episode is also memorable, and has some unexpected moments of subtle humour. The fourth segment is about ordinary life of a single mother raising two young children. Nothing dramatic, just everyday routine. And the fifth is a more conventional thriller about a veterinarian who discovers that the woman who brings her dog to her clinic is a victim of abuse. It's a very tense story, well handled. The last two segments are completely different from the first five. The shift in tone is jarring. The sixth episode is a Bollywood extravaganza with musical numbers. The seventh is an experimental animated film that is very difficult to decipher. On their own, they are quite interesting. But they have nothing in common with the first five episodes which are very realistic and emotionally charged. The sixth segment tackles transphobia. That's also a social issue, like in the five previous segments that deal with mental illness (the first three), single motherhood and abuse. But the treatment in the sixth segment isn't realistic at all. It's pure spectacle.  There's actually something very interesting in that tonal shift - a refusal to let women's stories be pigeonholed into just social realism, and insisting on a full range of cinematic expression. 
Segments:
"Pepcy And Kim" (Taraji P. Henson)  *****
"Elbows Deep" (Catherine Hardwicke)  ***
"Lagonegro" (Lucia Puenzo)  ****
"A Week In My Life" (Mipo O)  ***
"Unspoken" (Maria Sole Tognazzi)  ***
"Sharing A Ride" (Leena Yadav)  ***
"Aria" (Lucia Bulgheroni, Silvia Carobbio)  ***
No Bears (2022) ****
Another excellent film from Jafar Panahi. It's about an Iranian filmmaker trying to direct (via Skype) a movie filmed across the border in Turkey while residing in a small village on the Iranian side of the border, and getting involved in a serious conflict in that village over a photograph of a young couple. Winner of the Special Jury Prize at the Venice Film Festival.
The Menu (2022) ****
It is everything that "Glass Onion: A Knives Out Mystery" (which it superficially resembles) isn't, namely clever, well-directed, thoughtful, suspenseful and effective. A minor masterpiece.
Triangle Of Sadness (2022) ****
Winner of the Palme d'or at the Cannes Film Festival. A brilliant satire about modern life, loosely inspired by Cecil B. DeMille's "Male And Female" (1919). Directed by Ruben Ostlund.
Tar (2022) ****
A very surprising film that strongly denounces the excesses of the "cancel culture" while making it abundantly clear that its main character is guilty of sexual abuse on a Harvey Weinstein scale. 
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