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On this page: BABYSTAR | A BIT OF LIGHT | LOVERS IN THE BLUE NIGHT

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See also: SHADOWS FILM FESTIVAL | Last update 23.Sep.26

Babystar  
Review by Rich Cline | 3.5/5
Babystar
dir Joscha Bongard
scr Nicole Ruthers, Joscha Bongard
prd Lisa Purtscher, Lotta Schmelzer
with Maja Bons, Bea Brocks, Liliom Lewald, Joy Ewulu, Maximilian Mundt, Verena Altenberger, Maria Matschke Engel, Alexander Schuster, Katharina Ley, Matthias Matschke, Dario Scheffler
release Ger 23.Apr.26,
UK 25.Sep.26
25/Germany 1h38

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lewald, bons and brocks
There's an expertly crafted awkward energy to this black comedy from Germany, which is centred around a family that posts every moment of their life on social media. It's a fairly broad target for satire, but director-cowriter Joscha Bongard keeps the tone hushed and bracingly intimate, delving into the thoughts of a teen girl who has never not been online and knows that she's addicted to validation.

Teen Luca (Bons), her mother Stella (Brocks) and father Chris (Lewald) have 4.3 million followers when her parents' decide to have another child. And Luca is afraid she'll be sidelined. To help with her feelings, they get Luca a cute dog. And an AI expert (Altenberger) creates an avatar of Luca, which she uses as a personal assistant, asking for advice. But she can't imagine not being an only child, so she decides to get away, turning to their publicist Julie (Ewulu) for companionship. The question is whether Luca has an identity of her own.
Amusingly, all brand names are either blurred or bleeped, but of course they are all this family thinks about. Mum is on top of the business, while Dad works to maintain his fit, youthful appearance. The family's popularity means that they are sent everything for free. And of course Luca has grown up knowing how to push this to get even more, such as a moment of physical touch with a cute hotel receptionist (Mundt). Or trying out an adoptive family.

Bons subtly brings out textures in Luca, who looks happy in pictures and videos, but is actually mopey, thoughtful and insecure. She has featured on her parents' feed since she was a foetus, so her entire personal history is on the internet. Her panicky moments are deeply chilling to watch. By contrast, Brocks and Lewald are almost unnervingly controlled as her parents. The actors offer glimpses of real emotions, even if Stella and Chris only play them up for camera.

For this family, only what they see through online is real, so this is how they judge their appearance, their food, their holidays, everything. While the point can't help but be on-the-nose, the film makes several intriguing observations along the way. Most interesting is the exploration of how everyone in the world wants to be special, but shining on social media is only an illusion of exceptionalism. Where this story goes is clever and provocative, as the film quietly whispers its bleak truth.

cert 12 themes, language 26.Aug.26


A Bit of Light  
Review by Rich Cline | 4/5  
A Bit of Light
dir Ali Asgari
scr Ali Asgari, Shadmehr Rastin
prd Milad Khosravi, Afshin Salamian, Lorenzo Cioffi, Sholeh Alemi Fabbri, Giorgio Giampa
with Missagh Zareh, Sadaf Asgari, Forouzan Jamshidnejad, Ramtin Daghigh, Mina Rahimzadeh
release WP Sep.26 vff
26/Iran 1h27

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zareh
With a gently rolling pace and a quietly witty sensibility, this Iranian comedy-drama approaches a very serious premise with a superbly light-handed touch. Filmmaker Ali Asgari and his gifted cast create hugely likeable characters who support each other unconditionally, even though it's clear that they'd rather not. So the film becomes a beautiful depiction of familial love in a place where government actions continually seem to obliterate hope.
After being stripped of his licence for treating injured protesters, Dr Arash (Zareh) has decided to kill himself. His brother Maziar takes this badly. Then Arash gets sidelined by a persistent woman who needs medicine and a mother whose young son has an infected bullet wound and can't go to hospital. Finally, Arash meets his yoga-teaching sister Mahsa (Asgari) and older Massi (Jamshidnejad), and they go with him to tell their mother, met there by Maziar for a favourite family meal. Arash doesn't feel like eating, and he's not sure he can tell his mother.
Along the way, Arash discovers a whole range of people who desperately need his help, as well as everyday passersby who ask for assistance. Also, there's an undercover cop following him who threatens him at one point. The film depicts Tehran as a modern city; every set is indistinguishable from anywhere in the West, and these people have the same dreams and fears as everyone on earth. And there are constant references that Trump is planning to send missiles into the city.

Performances have a lively, understated quality that emphasises both a wry sense of humour and emotions just under the surface. Zareh is often silent as Arash reacts to people telling him what they think, and his expressive eyes reveal a powerful mix of concern, resolution, love and fear. He is flatly horrified by what he has witnessed in his country, something so terrible that his account of it shakes us deeply. We can understand why he can't bear to see any more of this.

Surrounded by his siblings and their mother, Arash struggles to hold his ground. Because his entire society has told him that compassion and healing are impossible, he sees no other way forward. And he knows that if he wants to keep helping people, he will have to do so on the wrong side of the law. So his family gives him a surprising glimmer of hope for the future, maybe only a little bit, and just for another day.

cert 12 strong themes 10.Sep.26 vff


Lovers in the Blue Night  
Review by Rich Cline | 4/5
Lovers in the Blue Night
dir-scr Anuparna Roy
prd Sharib Khan, Vikas Kumar, Romil Modi, Bibhanshu Rai, Rhet Topham
with Neelima Sharma, Pritam Pilania, Bhushan Shimpi, Jatin Sarin , Kajal Keshav, Vinod Suryavanshi
release WP Sep.26 vff
26/India 1h47

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shimpi and pilania
In a culture of arranged marriages, this beautifully shot and edited film focusses on people finding love on their own terms. Writer-director Anapurna Roy is gifted at observing everyday rhythms of life in Mumbai, where seekers from around the region come to make a new life for themselves. This is a warm, involving portrait of people trying to find options in a society where there aren't many.
From Bangladesh, Karim (Pilania) disposes of rats that infest his seaside neighbourhood, then befriends blue-haired thief Sukka (Shimpi) who offers him work poisoning dogs to rob flats. Meanwhile, Karim's wife Ameena (Sharma) works in a kind of blind-date cubicle chatting to strangers, sharing more of herself than she wants to. Then one of her clients starts writing her love letters through her friendly colleague Omi (Sarin), and she thinks they're from him. Then Karim finds a spark of attraction with Sukka, who is having his own issues with a pushy boss and pregnant girlfriend (Keshav).
It's cute to see Karim and Ameena in bed, awkwardly interacting. Ameena talks and tentatively touches Karim, but he tells her to go to sleep, afraid to speak his truth. These kinds of subtly textured character interactions fill the screen, adding lovely textures that create nuance and intrigue. And the settings are skilfully captured on camera, from simple one-room homes to rugged beaches to gleaming nightclubs. The film looks terrific, pulling us into each scene.

Performances are earthy and understated, finding moments of humour and raw emotion throughout the story. Pilania is magnetic as the thoughtful Karim, who rarely speaks but has a story to tell. His connections with both Sharma's hopeful Ameena and Shimpi's blustery Sukka are complex and vivid, with big feelings that build as the situation becomes more complicated. Realities intrude on these relationships in ways that are darkly moving. And Sarin's warm-hearted Omi has no idea what he's wandered into.

It's easy to identify with these people who are struggling to get ahead in a society that keeps them in the margins. Each of them has dreams of a better life, and especially a more honest one. But various everyday pressures continually prevent them from being themselves, which makes it very difficult to feel alive. So the film becomes a gentle reminder to pay attention to what others are going through, and that sometimes rules must be broken.

cert 12 themes, language 31.Aug.26


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