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He plays Edward, an aspiring actor who joins a trial for a medical procedure that might cure his facial deformities. Meanwhile, he meets his new neighbour Ingrid (Reinsve), aspiring playwright who is inspired to write a new play about him. Then when the treatment works, Edward reinvents himself as the handsome leading man Guy, relishing his newfound popularity. But now he will have to wear a mask if he wants to star in Ingrid's play. Then the arrival of Oswald (Pearson), who looks like Guy used to look, throws him for a loop, because Oswald is intimidatingly confident and talented.

The point of course is that Edward only changed on the outside but is still as timid and insecure as he always was. The way this plays out is bracingly complex, with scenes that unfold with witty and sometimes abrasively hilarious flourishes. Details fill the screen, offering hints about the larger lives of the characters while playfully sending Edward on a spiralling journey into his own soul. It's a rare film that can tackle such a hot-potato topic without ever flinching, continually forcing us to adjust our point of view while confronting attitudes we didn't even know we had.

themes, language, violence, sexuality

8.Nov.24

Patel plays Kid, a scrapper who earns a living through elaborate scams, including boxing matches in which he wears a monkey mask, fixing fights for promoter Tiger (Copley). Meanwhile, he worms his way into the nightclub run by Queenie (Kalsekar), befriends her assistant Alfonso (Pitobash) and gets promoted to the inner sanctum, where bosses indulge in sex and drugs. But Kid has a score to settle with the biggest boss in town. Then the monk Alpha (Sharma) leads Kid on a voyage into his own identity and soul, revealing a horrific explanatory back-story.

Like an Indian variation on John Wick, events unfold with an often startlingly visceral sensibility, with well-staged violence in the boxing ring as well as other settings, most notably a desperate grapple in a restroom. Indeed, the action choreography shines in properly over-the-top fight sequences in which Patel is easy to root for, even when he turns vicious. There's even a breathless tuktuk chase sequence. Each scene is also infused with colour and cultural nods.

Severe social issues, from criminality to ruthless politics to an escalating cycle of violence, add complexity even if the central story remains fairly straightforward. Patel shoots and edits this on an impressively large scale, with vibrant characters who are sharply well-played by an eclectic ensemble. The explosions of grisliness are often shocking, especially as they reflect deeper historical tensions. So Kid's vicious path to revenge and possibly redemption isn't easy, even as he begins to remember who he is.

themes, language, violence

13.Nov.24

Intriguingly, the relationship at the centre is complicated by the fact that these two women haven't seen each other in years and only reconnect by accident. Ingrid (Moore) is an author, while Martha (Swinton) is a war correspondent, so their approach to storytelling is very different. Terminally ill, Martha asks Ingrid to go with her to a house outside the city and stay in the room next door when she takes her own life before she becomes debilitated by cancer. This plays out with quiet tension, as Ingrid waits for the moment she will discover that Martha has gone through with her plan. In the meantime, they resume their friendship, revisit their memories and talk about very big issues.

This is a gorgeously made film that is anchored in these two central performances. Both Moore and Swinton offer remarkably low-key vitality as women who remain curious about the past, present and future, facing each through their own distinct perspectives. It's the kind of movie that will annoy anyone who wants there to be some bigger plot twists or heavier momentum. Instead, this is a beautifully observed drama exploring a topic that is rarely discussed with such honesty. So where it goes is softly moving in an unexpectedly nuanced way.

themes, language, violence, sexuality

6.Nov.24

These are tough guys who bristle with bravado, but they've decided to stage a comedy because Shakespeare is too serious. So acting teacher Brett (Raci) takes a shot at writing something lighter, throwing pretty much everything into it. With lots of experience, the wrongly convicted Divine G (Domingo) is the group's natural leader. In a darker role, thuggish Divine Eye (Maclin playing himself) struggles to lower his guard. Eventually he finds something new in the camaraderie between the cast members.

The language may be salty, but the film's tone is warm and uplifting, as the script zeroes in on moments of deep connection rather than conflict. Raci's zen-like Brett observes that men rarely get a chance to be this vulnerable with each other. Domingo anchors the cast with a likeable, generous performance as genuinely good guy man who has been falsely accused and simply wants to be heard. He spends most of his time helping everyone else.

Each man in the ensemble cast digs deeply into his character, offering moments of startling transparency. Meanwhile, the film's overarching plot traces the production of this wildly bonkers comedy, with its mash-up of characters and moments from other plays. This is cleverly paralleled with personal dramas and knowing depictions of prison life. The result is a beautifully textured film that has something profound to say about human nature. And this makes it both pointed and moving.

themes, language, violence

13.Nov.24