On this page: BENEDETTA | LOVE, SPELLS AND ALL THAT | MEMORIA

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In the central role, Efira plays Benedetta with a modern sensibility as a smart, educated young woman who is much more aware than people expect. The fabulous Rampling underplays her villainous role beautifully; Felicita thinks Benedetta must either be faithful or a madwoman, but never suspects that she might be a master manipulator. Patakia and Chevillotte have their own strong scenes, and Lambert provides his superb screen presence to fire up the outrageous final act.

Verhoeven seems happy to keep the story centred around some grisly violence and nun-on-nun sexuality, while letting any deeper ideas lurk only in the shadowy margins. There's a chance here to explore fervent belief, religious mania, the power of the church and even perhaps mental illness issues. All of these things are gurgling around unexplored as the action gets increasingly freaky. But at least there's a layer of enigma to Benedetta that should revive interest in who she really was.

themes, language, violence, sexuality

15.Oct.21 lff

The actors are naturalistic and understated, trying to hold their feelings inside, but often unable to prevent them from seeping out. Dizdar gives Eren a dark yearning that contains a morsel of hope, even as Reyhan forcefully tells her to leave. Ucer reveals the same submerged feelings in Reyhan, deliberately buried further. So the way these two women interact is fascinating, especially as they use the physical space between them or fall into a wrenching embrace.

Waves of memories rush over Eren as she walks around the island. This isn't nostalgia, is a surging rush of big emotions tempered by a lifetime of coping with expectations, gossip and rejection. As they revisit places that once meant something to them while also seeking a way to break the spell, little adventures allow them to rediscover each other. They both seem to understand that there's no ritual that can undo their past, and watching them work out their true feelings is surprisingly moving.

themes, language, sexuality

24.Oct.21

Swinton brings her considerable presence to bear in a minimalistic role that pulls the audience in. Often sitting and staring, or just thinking to herself, even her stillness is riveting. And she finds specific rhythms with her costars, most notably Diaz and Urrego as the two Hernans. Both are intriguing and interested, offering left-field commentary that deepens and complicates the narrative. And there are more everyday connections in the scenes with Brekke and Cacho (as Karen's husband Juan).

This is a movie that takes you on a fascinating trip, so it's better to just go along for the ride and stop trying to work out what it means. Ideas come along in a constant flow, creating possible explanations and resonances. And because Weerasethakul's approach is so visceral, the imagery will stick with you, encouraging you to ponder the way history continues to vibrate in the stones around us. And how perhaps the things that link us together aren't meant to make sense.

themes, language

16.Oct.21 lff