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See also: SHADOWS FILM FESTIVAL | Last update 15.Nov.25

Nino
Review by Rich Cline | 4/5

Nino
dir-scr Pauline Loques
prd Sandra da Fonseca
with Theodore Pellerin, Jeanne Balibar, William Lebghil, Salome Dewaels, Camille Rutherford, Estelle Meyer, Mathieu Amalric, Balthazar Billaud, Victoire Du Bois, Pascale Oudot, Mael Besnard, Lison Daniel
release Fr 17.Sep.25
25/France 1h36

CANNES FILM FEST
TORONTO FILM FEST

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From France, this involving drama features yet another powerfully transparent performance by Theodore Pellerin, playing a guy who gets some bad news from a doctor. Writer-director Pauline Loques assembles the film as a weekend odyssey that knowingly grapples with issues of grief, identity, mortality and connection without ever becoming either pushy or sentimental. Instead, its the earthy humour and real emotions that will linger in the memory.

Diagnosed with cancer on his 29th birthday, Nino (Pellerin) struggles to believe it. With three days before starting chemo, he walks around Paris in a daze, locked out of his flat and unable to calm his racing thoughts. Dropping in to see his mother (Balibar), he finds it impossible to tell her. He also reconnects with an ex (Rutherford) and a school friend (Dewaels) he barely remembers, and crashes a surprise birthday party his best friend Sofian (Lebghil) throws for him. Perhaps it would be easier to confide in someone he doesn't know very well.

Along the way, Nino naturally begins to wonder about his father's death, which has always been a bit of a mystery to him. And in his childhood bedroom, he rummages through memories from his life. With each person he meets, Nino struggles to ask them to accompany him to treatment on Monday morning. And when he finally does manage to bring it up to Sofian, his intensely grave reaction throws Nino further off balance.

Pellerin is so likeable and open that we can't help but engage with him, especially because Nino is observant and helpful. Pellerin beautifully plays each gently rolling conversation while hiding what's really on his mind. Scenes with Balibar, Lebghil and Dewaels are particularly nuanced. And at his party, his underlying thoughts are invisible to the lively, smiley guests. Everyone on-screen has a remarkable authenticity, peppering lovely moments throughout the film.

Before he knows what's up, Sofian tells him there's no point in agonising about things, just get on with it. So Nino must decide whether it's better to say nothing to keep things simpler or to take the risk and ask for help. Intriguingly, he's someone who connects easily with others, wearing his heart on his sleeve. It's clear he has never had to think such serious thoughts before, and of course the person he most urgently needs to be honest with is himself. This is a rare film that explores such a serious topic with a refreshingly light touch.

themes, language 15.Nov.25

Sauna
Review by Rich Cline | 3.5/5

dir Mathias Broe
scr William Lippert
prd Mads-August Grarup Hertz
with Magnus Juhl Andersen, Nina Rask, Dilan Amin, Klaus Tange, Peter Oliver Hansen, Morten Burian, Billie N Hviid Andersen, Theo Suissa Heimann, Anton Hjejle, Fuad Gumas, Sam Koosha, Niels Munk Plum
release Den 24.Apr.25,
US 21.Nov.25
25/Denmark 1h43

SUNDANCE FILM FEST

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Afshari, Elyasmehr, Panahi, Pakbaten and Mobasseri

With deeply shaded cinematography, this Danish drama is a warm romance about young gay men who are trying to escape the cycle of casual sex. It's a carefully observed film, written, directed and performed with internalised honesty. The storytelling is a little uneven and elusive, going through a few stretches that are rather mopey, but the documentary-style realism continually surprises us with knowing details and subtle insights.

On lively nights out in Copenhagen with his friends, sauna worker Johan (Anderson) has frequent random hookups. But he's starting to want something more. Using the apps, he meets William (Rask) and makes a connection. This is the first trans man he's ever been with, and Johan feels like he wants to see him again. His friend Asif (Amin) advises him to go for it. And soon William is all Johan can think about. But his obsession leads to dodgy behaviour, and his boss (Tange) sacks him. So Johan goes all in on the relationship.

It's fascinating to watch these two men explore each others' worlds. William has never been to a gay sauna, so Johan gives him the royal tour at peak time, then is shocked when a colleague is abusively transphobic. Meanwhile, Johan is discovering the pressures William is under from the world around him, including getting help with surgeries and testosterone. So he needs to be sensitive to where William is in his transition. And as always, drugs and alcohol don't help at all.

While William faces his own issues, Johan refuses to accept that health officials might reject William's request to be treated as a trans man. Indeed, Johan continually has impulsive reactions that make it tricky for us to like him, but there's an underlying charm that draws us in. Both Anderson and Rask give honest performances as guys who are only just learning how to live their true selves, so it feels natural that it would be difficult for them to understand each other.

Conversations between Johan and William are soft and pointed, as they share their experiences and encourage each other to move forward. But with so much going, their life together becomes increasingly strained. Unusually, the film allows events to roll along without using pushy narrative points, so we acutely feel the precarious nature of their situation. And the film becomes a striking look at how important it is to love yourself before you try to love someone else.

themes, language, sexuality 13.Nov.25

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See also: SHADOWS FILM FESTIVAL