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On this page: LA BOLA NEGRA | GENTLE MONSTER

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See also: SHADOWS FILM FESTIVAL | Last update 26.Aug.26

La Bola Negra aka: The Black Ball
Review by Rich Cline | 4.5/5

MUST SEE

dir Javier Calvo, Javier Ambrossi
scr Javier Calvo, Javier Ambrossi, Alberto Conejero
prd Javier Calvo, Javier Ambrossi, Jorge Pezzi
with Guitarricadelafuente, Miguel Bernardeau, Carlos Gonzalez, Milo Quifes, Lola Duenas, Penelope Cruz, Glenn Close, Antonio de la Torre, Natalia de Molina, Albert Pla, Julio Torres, Alberto Cortes
release Sp 25.Sep.26,
UK/US 6.Nov.26
26/Spain 2h35

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Inspired by an unfinished Lorca novel and Alberto Conejero's play, this staggeringly powerful epic is lavishly produced on a sweeping scale. Its multi-faceted story highlights a range of issues through lenses of history, politics and poetry, and the themes almost overwhelm the intimate plotlines. Filmmakers Calvo and Ambrossi assemble this with astonishing artistry. So even if it feels long and over-ambitious, the story and characters are thoroughly engaging.

In 1932, Carlos (Quifes) is literally blackballed from Madrid's prestigious casino because he's perceived as a homosexual. And he isn't sure whether to stand up for himself or give in to the demands of society. In 1937, trumpeter Sebastian (Guitarricadelafuente) joins the army and is tasked with watching over the prisoner Rafael (Bernardeau), who knows he will be simply tried and shot. But an unexpected bond grows between them. And in 2017, historian Alberto (Gonzalez) receives an unexpected inheritance from the grandfather he never knew, and his detached mother (Duenas) refuses to answer any questions.

These three storylines interweave, revealing the intriguing connections between them as the film continues, ultimately linking into the life of Lorca himself (Cortes in black-and-white flashbacks). Along the way, spectacular set-pieces add layers of meaning, including Sebastian's stunning opening sequence, a bravura one-take flamenco club odyssey for Carlos and a riotous song and dance from Cruz, performing for the troops before offering Sebastian a quiet note about the importance of drag artists.

Each moment allows the cast to shine, because these are finely textured roles, with dialog that speaks on multiple levels. In his film debut, Guitarricadelafuente gives Sebastian a likeable, nuanced timidity that informs all of the storylines. And his simmering chemistry with Bernardeau's Rafael is simply gorgeous, rippling with understated compassion and understanding. Quifes's Carlos and Gonzalez's Alberto are equally engaging, each with his own momentous journey. Cruz is the film's scene stealer. And Close's sequence carries a sharply pointed kick.

Running through all of this is the idea that gay people are sidelined in both society and history due to a deep-seated fear of admitting the truth about humanity. As a result, feelings run hot, suppressed until someone either bursts or goes into hiding. The way the film brings all of this together in the final scenes is intensely moving for a range of very personal reasons. It may take audiences awhile to recover. But it's important to let it all sink in.

themes, language, violence, sexuality 24.Aug.26

Gentle Monster
Review by Rich Cline | 4/5

dir-scr Marie Kreutzer
prd Alexander Glehr, Johanna Scherz
with Lea Seydoux, Jella Haase, Laurence Rupp, Malo Blanchet, Catherine Deneuve, Nils Strunk, Patrycja Ziolkowska, Anton Rubtsov, Sylvester Groth, Katharina Lorenz, Regina Fritsch, Raphael Nicholas
release UK/US 30.Oct.26
26/Austria 1h54

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Taking a bracingly naturalistic approach to a thorny topic, astute Austrian filmmaker Marie Kreutzer forces the audience to grapple with a complex situation right alongside the lead character, who is superbly played by Lea Seydoux. Similar to most of the people on-screen, our immediate reaction is undeniable. But the film's nuances continually force us to examine our gut-level feelings. And the sensitive approach makes it provocative and important.

Just outside Munich, musical performer Lucy (Seydoux) lives in an idyllic crumbling house with loving filmmaker husband Philip (Rupp) and happy 9-year-old son Johnny (Blanchet). Then detective Elsa (Haase) turns up with armed officers, arresting Philip and confiscating his computer on child pornography charges. Lucy is blindsided by this, taking Johnny to live with her mother (Deneuve) in the city. But Lucy has nagging doubts. Perhaps Philip was working on a documentary. Or maybe he was dealing porn, as he sold drugs before they met. Meanwhile, Elsa's father (Groth) challenges her certainty about her work.

While the narrative centres on Lucy's journey, it also cuts to Elsa's perspective, befriending Lucy while working on her case and struggling with her father's dementia, because his verbal abuse of his nurse (Ziolkowska) has become physical. Everything is shot in a way that's both sensitive and unflinching, allowing each overwhelmed character to do things that don't quite make sense. Kreutzer also cleverly keeps us within the two women's perspective, letting the actors reveal their feelings.

Seydoux delivers a remarkably intricate turn as an expressive woman who performs skilfully deconstructed hit songs written by men, pointed titles including Would I Lie to You, (Everything I Do) I Do It for You and Freedom '90. Lucy's thoughts and feelings swerve beautifully. And Haase has similar underlying currents as the more stoic Elsa, who compartmentalises her work until it touches her personally. Rupp is also notable, giving a charming and chillingly natural performance.

Superbly using settings and home movie clips, Kreutzer adds textures to each scene, creating complexities in a situation that is surely cut and dry. Scenes are delicately observed, able to shake us to the core with their implications. So each step in the narrative surprises both us and the characters, and we have to grapple with the repercussions along with them. Yes, all of this is rather intense, so much so that even the warmer, witty scenes seem a bit worrying. So the way the story plays out expertly gets our heads spinning.

themes, language, sexuality 19.Aug.26

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See also: SHADOWS FILM FESTIVAL