On this page: JULIE KEEPS QUIET | PARTHENOPE | TWO TO ONE

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As Julie, Van den Broeck has terrific presence on-screen, bringing out Julie's internal struggle as she becomes the centre of attention. This only reminds her that she's from a working class family, unlike her wealthy teammates. While being very hard on herself, her stoic face says everything, as she listens to others speak while grappling with internal feelings she simply can't express. The people around her remain deliberately outside her focus.

This is a fascinating look through the point of view of a young person who has plenty of people who want to help her talk through a serious issue, but she instead decides to hold it inside. Seeing Julie's struggle, her mother whispers, "I can't help you if you won't talk to me." It's difficult to watch this young woman try so hard to deal with such a significant situation on her own terms. And the film's honesty and artistry make it powerfully important.

themes, language

20.Apr.25

To match the film's gliding tone, performances ripple with underlying passion, both romantic and familial, so performances have a relentlessly yearning quality to them. Dalla Porta is magnetic as Parthenope, even if the role itself is rarely more than wistful, which leaves her various liaisons feeling somewhat empty. Her most enduring connection is with Orlando's surly but ultimately sympathetic professor. Decades later, Parthenope is engagingly played by Sandrelli as a striking 73-year-old still making peace with her choices.

Sorrentino is such a masterful filmmaker that there isn't a dull moment on-screen, even if it never feels like it is going anywhere. This is clearly a cinematic love letter to Naples itself. Indeed, Raimondo observes that it's impossible to be happy in the most beautiful place on earth. So the film mixes its gorgeous imagery with tragedy and lust in a way that's haunting. Perhaps the point is that life isn't about being happy; it's about appreciating the beauty and love that coexist with the pain.

themes, language, violence, sexuality

27.Apr.25

Characters are relaxed and likeable, with quirks that are never exaggerated. Huller grounds the story nicely as the matter-of-fact Maren, who enjoys the danger but never loses sight of reality. Her connections with both Reimelt's open-handed Robert and Zehrfeld's more intentional Volker create some nice camaraderie. This makes the underlying tension between them feel a bit implausible, because conflicts feel concocted. There's also a key subplot that playfully explores questions in Maren's back-story, notably where Volker is concerned.

While the story loses some steam along the way, getting bogged down in unnecessary details and wrinkles, the underlying idea about how money changes people resonates in a way that never feels overstated. Even when Volker says, "Greed eats brains," he's simply observing how the group begins worrying about their share of the cash and mistrusting each other. Later on, a larger picture emerges that pointedly positions the film within the historical record. But a tighter narrative would have made it more enjoyable and memorable.

themes, language, violence

25.Apr.25