Shadows on the Wall | Arthouse Films

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On this page: BITTER CHRISTMAS | WE'RE NOTHING AT ALL

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See also: SHADOWS FILM FESTIVAL | Last update 19.May.26

Bitter Christmas Amarga Navidad
Review by Rich Cline | 4.5/5

MUST SEE

dir-scr Pedro Almodovar
prd Agustin Almodovar
with Barbara Lennie, Leonardo Sbaraglia, Aitana Sanchez-Gijon, Victoria Luengo, Patrick Criado, Quim Gutierrez, Milena Smit, Rossy de Palma, Amaia Romero, Maria Morales, Belen Riquelme, Gloria Munoz
release Sp 20.Mar.26,
UK 28.Aug.26
26/Spain Pathe 1h51

CANNES FILM FEST

Is it streaming?

With this companion piece to his intimate 2019 drama Pain and Glory, Pedro Almodovar continues to explore the nature of creativity, specifically how art interacts with powerful real-world emotions. This is a skilfully layered narrative, beautifully written and performed. And it's also of course a visual feast design-wise, using richly hued costumes and settings that evoke deeper feelings. And its plot-threads interweave masterfully to craft punchy echoes.

In 2004, filmmaker Elsa (Lennie) has a happy life with her hot firefighter/stripper boyfriend Beau (Criado), but is struggling for inspiration about her next project. Actually, she's the lead character in a script being written in the present day by Raul (Sbaraglia), who is still dealing with grief over his mother's death. When Raul's manager Monica (Sanchez-Gijon) leaves to help her grieving-mother friend, Raul's hot boyfriend Santi (Gutierrez) steps in to organise his life. Meanwhile, strong feelings worm their way into Raul's script, as Elsa's troubled friends Patricia (Luengo) and Natalia (Smit) complicate her journey.

Because the film is so expertly designed, shot and edited, there is never any confusion as it cuts between two parallel narratives. Instead, it's fascinating to see them interact, revealing underlying emotions that feed into the interaction. Raul sets his story around his very first panic attack, while Elsa observes the way cinema can be a bit premonitory. And constant details, including a couple of gorgeous songs, feed into this riveting look at artistic perspective.

Each performance feels earthy and authentic: these are people who are the stars of their own stories, working to define their own journeys. As Raul and his alter-ego Elsa, Sbaraglia and Lennie remain sympathetic even when their characters become pushy. Sanchez-Gijon's role grows increasingly intense emotionally, leading to a heart-stopping confrontation. And Criado and Gutierrez are terrific in their offbeat roles. And the always fabulous de Palma pops up for a sparky scene.

This is an unusually astute look how real life makes an impact on fiction, even if it's unintentional. Even more intriguing is how the creation in turn has its own effect on real life. This circular motion feeds into themes about how art is often an expression of feelings that are impossible to express, and also how experiencing something artistic can soothe the soul in ways that are impossible to define. Almodovar raises these ideas without ever being weighty about them, as if we are witnessing his own search for meaning in everyday melodramatic chaos. The resonance is astonishing.

themes, language 7.May.26

We’re Nothing at All
Review by Rich Cline | 3.5/5

We're Nothing at All
dir-scr-prd Herman Yau
with Patrick Tam Yiu-man, Anson Kong, Ansonbean, Wong You-nam, Kearen Pang, Thor Lok, Ben Yuen, Amanda Lee, Stephanie Che, Kenneth Low, Chu Pak-him, Rachel Leung
release HK 3.Apr.26,
UK 29.May.26
26/China 2h08

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Inspired by real events, this riveting drama plays out as a police procedural packed with fascinating forensic details. Using a parallel structure, writer-director Herman Yau skilfully tells two very different stories that are vivid and involving. Because such important themes are churning within every scene, the film gets a bit melodramatic along the way. But Yau continually finds clever connections in the dual storylines, pulling us in deeper.

After a city bus explodes on Valentine's Day, Hong Kong detective Leung (Tam) and his assistant Raymond (Wong) use evidence to work out who did it and why. In flashbacks, struggling artist Ike (Ansonbean) begins a fling with escort Andrew (Lok) before starting a sweet relationship with the thoughtful Fai (Kong). Both Ike and Fai are considering suicide, Ike because his parents violently rejected him for being gay and Fai because he's penniless after his boss stopped paying his employees. And as more problems pile up, they decide to take some other people with them.

Because of the way the back-stories are intercut, the bigger picture comes into focus in an unusually balanced way. Involving in very different ways, both plot strands feature momentous twists of fate. The detective thriller builds tension with grisly revelations and a careful reconstruction, leading to the realisation that the explosion was an intentional act. But we are also watching the movingly human pain that led to this tragedy. And we meet several others who are unwittingly caught up in these events.

Performances have a raw authenticity, packed with subtle character details. Even though Fai and Ike are deeply troubled, Kong and Ansonbean play them with a likeable edgy honesty. They may have each other, but it feels like the world is out to get them. The question is whether the police will be able to discover the true motive behind their atrocity. Tam brings Leung to life with a matter-of-fact mind and personal issues that inadvertently connect him to the crime.

It's unnerving to watch various plot elements weave together into a moment of horror. But the tone remains engaging, even as Fai and Ike experience a virtual pile-up of misery, which leaves them feeling hopeless. They may long for a happy romance, but they begin to realise that a sad ending might be their only option. The film's yearning question is why society automatically considers homosexuals to be scandalous, even when they've done nothing wrong. Simple kindness could avert so much pain.

themes, language, violence 13.May.26

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See also: SHADOWS FILM FESTIVAL