Alphabetical Menu
Chronological Menu
Anselm is a fascinating, mesmerizing and provocative glimpse of Anselm Kiefer's artwork. Director Wim Wenders combines contemporary footage of Kiefer, a German sculptor/painter, at his studio in France along with archival photos and reenactments of key moments from his young adult and childhood years. His artworks focused on German history, Nazis and the Holocaust, so he's unafraid to look at the dark side of humanity head-on and unflinchingly, but at the same time he's also not afraid to take risks that lead to controversy. A series of seven books titled, The Cauterization of the Rural District of Buchen, were made from charred remnants of his paintings because he wanted the pages to look and feel like the burnt flesh of those who died during the Holocaust. Wender avoids prying into Kiefer's private life, but he does provide some backstory about his childhood and how he became an artist. He doesn't sit down with him for an interview, though, so if you're looking for a thorough, conventional biopic of Anselm Kiefer, this documentary comes up short in that regard. Nonetheless, it's an engaging and often visually stunning introduction to Kiefer's artwork. Shot and presented in 3D, Anselm opens at IFC Center view Sideshow/Janus Films. 
The Apocalyptic is the Mother of All Christian Theology is a bold and experimental documentary about Saint Paul the Apostle. Director Jim Finn blends animation, music, 16mm footage and more to create a often trippy, amusing and refreshingly unconventional interpretation of St. Paul and his 7 epistles. Like the recent doc Anselm, this isn't a straightforward or very illuminating documentary biopic. However, what it lacks in substance it makes up for in its imagination, visuals and lively editing. There's rarely a dull moment. The film's systemic flaws, though, is that it's exhaustinging and bites off much more than it could chew. It tackles a lot in just over 1 hour when it could've been longer, more focused and more insightful. At merely 1 hour and 4 minutes, The Apocalyptic is the Mother of All Christian Theology opens at Anthology Film Archives on Wednesday, June 6th, 2023. 
Elis & Tom is a captivating and illuminating documentary about Brazilian music artists Elis Regina and Antonio Carlos Jobim who collaborated on the album "Elis & Tom" back in 1974. Co-director Roberto de Oliveira and Jom Tob Azulay combine archival footage of their recording sessions with talking-head interviews of the music artists' family and colleagues who worked with them. Through the interviews, you get a sense of the dynamics of Regina and Jobim's relationship and their different personalities which sometimes clashed. To be fair this isn't a warts-and-all documentary biopic about these two iconic Brazilian artists and it's also conventional in its structure. However, it's well-edited and captures an important moment in the history of bossa nova while also introducing audiences to music artists who deserve to be better known. Don't be surprised if you're tempted to buy the "Elis & Tom" album afterward. At a running time of 1 hour and 40 minutes, Elis & Tom opens at Cinema Village via Outsider Pictures. It would make for an interesting double feature with the recent documentary/animation/fiction hybrid They Shot the Piano Player. 
Glory to the Heroes is an engrossing, vital and eye-opening documentary about the aftermath of the Russian bombing of the Kakhovka Dam in Ukraine back in June 2023. Co-directors Bernard-Henri Lévy and Marc Roussel eschew talking-head interviews like in the previous docs in the series, The Will to See and Slava UkrainiSlava Ukraini. The footage is unflinching and not easy to watch nor should it be, but it's necessary, especially during an ongoing way. At times it's even somewhat gripping because it makes the audience feel like they're right there with the soldiers who are risking their lives every day. The filmmakers have tremendous respect, admiration and compassion for the Ukrainian soldiers as they capture their bravery and determination. Glory to the Heroes also shows how civilians cope with the destruction in their town. One elderly woman still lives in what's left of her apartment building and, surprisingly, manages to grow vegetables in a small garden. So, this documentary sheds light on glimmers of hope and resilience among all of the tragedy and despair. Director Bernard-Henri Lévy provides the equally astute and eloquent voice-over narration. At a running time of 1 hour and 29 minutes, Glory to the Heroes opens at Quad Cinema via Cohen Media Group. 
SOMM: Cup of Salvation is a captivating, well-edited and illuminating documentary about Vahe and Aimee Keushguerian, a father-daughter team of winemakers based in Armenia. Director Jason Wise follows them as they discuss how they started making wine in Armenia using Areni grapes which aren't easy to grow. They're among the few Armenian winemakers in a country that deserves to be better recognized for its wine. As one of the subjects perceptively observes, there are some people who don't even know where to find Armenia on a world map. Wise also includes a little historical background of Armenia, i.e. the Armenian Soviet Socialist Republic which was dissolved in 1991, but, for the most part he focuses on the Keushguerian's wine-making business. SOMM: Cup of Salvation suddenly turns into a suspense thriller when Vahe and Aime smuggle grapes from Iran, where wine is illegal, to the first winemakers in over nearly 50 decades to make Iranian wine. That particular segment feels the most engaging, and it manages to elevate the film above well above mediocrity. The crisp editing together with the brisk pace and visually stunning cinematography makes it feel cinematic rather than dry and academic. You don't have to be a wine lover to appreciate this documentary, but it would surely help if you are indeed one. Don't be surprised if you'll be tempted to search for an Iranian wine afterward. At a running time of 1 hour and 30 minutes, SOMM: Cup of Salvation opens at Angelika Film Center via Forgotten Man Films.
Cello  Nasser (Samer Ismail), an aspiring cellist, takes care of his sick mother, Haya (Suad Abdullah), who gives him money which he uses to buy cello at a shop run by Vincent (Tobin Bell). He gets more than he bargained for, though, when the cello turns out to be cursed and people in his life start dying under mysterious circumstances. . The screenplay by Tvurki Al Alshikh doesn't chart new territory, but it's nonetheless a captivating horror thriller. The Cello joins the list of horror films with cursed objects which includes, most recently, Talk to Me and In Fabric. Unlike Talk to Me, it actually provides a backstory about the cursed object. Both films open with a prologue that introduces the object and the fact that it leads to acts of killing. So, the audience is already a few steps ahead of Nasser when they first meet him and then he's introduced to the mysterious Vincent who gives him his business card after watching him perform. It's obvious to the audience that the cello that Vincent sells to Nasser will cause a series of deaths. The questions that provide the suspense include, "When and how will the cello's curse lead to the inevitable killing?" That suspense is Hitchcockian because it derives from the anticipation of the events to come. According to Lars Von Trier, who I interviewed for Antichrist, a truly great horror film leaves enough room for interpretation for the audience. Unfortunately, The Cello's screenplay suffers from on-the-nose dialogue, over-explaining and clunky exposition, especially during the third act that leaves very little to interpretation. In one of those scenes, Francesco (Jeremy Irons), explains how the cello ended up cursed while the film uses flashbacks to spoon-feed the audience. Is it too much to trust the audience's intelligence and imagination? The Cello major strengths are its cinematography, lighting and production design which creates a foreboding, eerie and occasionally surreal atmosphere. The trippy visuals effectively reflect Nasser's mindset as the line between reality and fantasy becomes increasingly blurred for him. Tobin Bell is just as menacing here as he is in Saw and Don't Breathe. He's clearly great at playing dark roles, although it would be refreshing at this point to see him play against type one day. Jeremy Irons chews the scenery with his charisma and gravitas as he makes the most of his role. He's given some lines that are witty with tongue-in-cheek humor that's even funnier because of how he delivers those lines. More scenes with him and Tobin Bell would've elevated the film. The CGI effects are decent, but nothing exceptional. Director Darren Lynn Bousman does include some gory scenes albeit not as shocking or disturbing as the gore in Saw. There are also some pacing issues because the first act moves quickly before slowing down and then picking up again in the third act. Also, the film overstays its welcome and could've used tighter editing at just under 2 hours. Despite clunkiness, uneven pacing and not enough room left for interpretation, The Cello is a suspenseful, creepy and exhilarating ride.  Concrete Utopia  When a large earthquake leaves Seoul in shambles, only one apartment building, Hwang Gung Apartments, remains intact. One of the residents, Yeong-tak (Lee Byung-hun) serves as the leader or "delegate" of the surviving residents while having to deal with the arrival people who don't reside in the apartment building. Myeong-hwa (Park Bo-young), a nurse, and her husband, Min-seong (Park Seo-joon), struggle to survive while helping others.
The screenplay by writer/director Um Tae-hwa and co-writer Lee Shin-ji begins in the aftermath of the earthquake with very little exposition about what exactly happened and the extent of the disaster around the world. Are there other apartment buildings like Hwang Gung Apartments somewhere else? What is the Korean government doing to save and rescue its own citizens? Concrete Utopia focuses entirely on the new mini-government that emerges at the apartment complex with Yeong-tak at the help. As he rises to power, he becomes like a tyrant, especially because of how he treats the non-residents as though they were a lower form of life than the residents. The filmmakers keep the plot grounded in the relationships instead of bombarding the audience with action, suspense and thrills. There's some suspense, but it's not the kind that will have you at the edge-of-year seat. By seeing and treating the characters as human beings, Concrete Utopia becomes an engrossing experience that helps you to care about what happens to them. Yeong-tak is the closest to a villain, but he's not cartoonish or one-note; he's complex and, despite his actions, not entirely as awful as he seems. The filmmakers also deserve credit for taking the plot into dark territory as it explores the darker side of human nature without being too emotionally devastating, shocking or disturbing. They also include enough comic relief to counterbalance the film's heavy tone. It's similar to the third chapter in Triangle of Sadness when everyone gets stranded on the island. Concrete Utopia accomplishes the rare feat of balancing spectacle with just the right amount of truth while trusting the audience's emotions and intelligence. One a purely aesthetic level, Concrete Utopia boasts impressive production design, special effects and cinematography which makes the film feel more cinematic, gritty and atmospheric. It doesn't overuse its special effects, though, because the action is kept to a minimum. The flashbacks to the events during the earthquake are well-edited without being clunky or diminishing the narrative momentum. Moreover, the performances by Lee Byung-hun, Park Bo-young and Park Seo-joon are convincingly moving and natural. At a running time of 2 hours and 10 minutes, Concrete Utopia is a genuinely heartfelt, gripping and provocative thriller.
 The End We Start From 
Just as a flood submerges London with water, a young woman (Jodie Comer) gives birth. She then escapes London with her husband (Joel Fry) and baby to the home of his mother (Nina Sosanya) and father (Mark Strong) before tragedy strikes again and they go their separate ways. She ends up in a shelter where she meets and befriends another young woman (Katherine Waterston).
Based on the novel by Megan Hunter, the screenplay by Alice Birch remains an emotionally engrossing character study of a mother who struggles to keep her baby alive during a natural disaster. Although the premise sounds like it could turn into an intense, pulse-pounding survival thriller, The End We Start From opts for a more understated approach that eschews thrills and instead becomes a poignant and tender story. Birch doesn't waste too much time with a first act with filler or backstory. She introduces the audience to the nameless young woman just as the flood waters begin to rise and the young woman goes into labor. Exposition is kept to a minimum with no flashbacks. Other characters are also nameless, yet they still have an impact on the young man. One of the men (Benedict Cumberbatch) whom she briefly meets talks about a place where she can go for refuge which she eventually travels to with the other woman. To be fair, the plot isn't very complicated or surprising, but that's forgivable because instead it focuses on the young woman's emotional journey as she deals with adversities without giving up. Even when she's with her newborn, she's away from her husband and yearns to reunite with him. Without flashbacks or voice-over narration, The End We Start From manages to open the window into the young woman's heart, mind and soul while wisely avoiding melodrama, preachiness, tonal unevenness and schmaltz. Jodi Comer gives a radiant and raw performance. The film's emotional depth comes from her performance much more than it does from the screenplay. Katherine Waterston is also superb, and Benedict Cumberbatch makes the most out of his supporting role. The cinematography along with the scenery are exquisite while also adding some visual poetry. Moreover, the pace moves slowly, but not too slowly, which means that director Mahalia Belo trusts the audience's patience which is often rewarding. The third act, which won't be revealed here, works effectively without feeling contrived or wrapping everything up in a neat little bow like too many Hollywood films tend to do these days. At a running time of 1 hour and 42 minutes, The End We Start From is an engrossing, tender and refreshingly nuanced emotional journey.
 Fast Charlie  Charlie Swift (Pierce Brosnan) works as a fixer for Stan (James Caan), his mob boss. When a ruthless gangster, Beggar Mercado (Gbenda Akinnagbe) kills Stan, Charlie sets out to avenge his death. He befriends Marcie (Morena Baccarin), the ex-wife of a gangster he killed, and needs her to identify his headless body.
Fast Charlie is an irresistibly entertaining blend of action, thrills, dark comedy and a little romance. Based on the novel by Victor Gischler, the screenplay by Richard Wenk keeps the plot lean without turning into a convoluted, tonally uneven mess. He and director Phillip Noyce have a great command of tone because they know when the film should take itself seriously and when it shouldn't. The dialogue is even witty at times with some tongue-and-cheek and macabre humor reminiscent of the dark humor in Pulp Fiction and In Bruges. More importantly, though, Charlie and Marcie are both given a personality and an interesting backstory that humanizes them without the use of flashbacks. There's a revealing scene where Charlie talks about his childhood and his relationship with his father. Of course, there's a MacGuffin: evidence that Marcie's husband had that incriminates the gang that murdered Stan. Marcie wants money Both Charlie and Marcie want money, but they also want something beyond that: Marcie wants to work as a taxidermist at a museum where there's a job opening, and Charlie, who loves to cook Italian food, wants to buy a home in Italy and to retire there. He's kindred spirits with Dosmo, the hitman from 2 Days in the Valley who also has a knack for cooking Italian food. Thank you, director Phillip Noyce and screenwriter Richard Wenk, for anchoring the action and thrills in some humanism, a truly special effect, that elevates the film well above mediocrity. Without giving away any spoilers, the third act has a clever twist, but, to be fair, it's over-explained as though the audience can't connect the dots themselves to figure it out on their own without being spoon-fed. Pierce Brosnan radiates plenty of charisma as Charlie. He and Morena Baccarin have palpable chemistry together on screen and have a lot of fun in their roles. It's also great to see the always-reliable James Caan who adds some gravitas in his supporting role. The action scenes are well-choreographed with slick cinematography and editing without any shaky-cam or choppy editing. There's just the right amount of violence that doesn't shock or disgust the audience. Moreover, the pace moves briskly enough, so there are no scenes that overstay their welcome or exhaust the audience. At an ideal running time of 1 hour and 30 minutes, Fast Charlie is an exhilarating, suspenseful and wickedly funny action thriller. Pierce Brosnan is at his best. It would make for a great double feature with 2 Days in the Valley and After the Sunset.
 The Last Wife 
Linh (Kaity Nguyen), a young woman, is stuck in an unhappy marriage with a district governor. Upon the sudden arrival of Nhan (Thuan Nguyen), her childhood lover, she reconnects with him while they rekindle their love.
Set in 19th century Vietnam during the Nguyen Dynasty, the screenplay by Vo Nguyen Dan is heartfelt, thrilling and a captivating blend of romance, drama and suspense. He introduces Linh just as she's about to get married to the governor to become his third wife. Linh comes from a life of poverty, so her lifestyle drastically changes when she marries him. She gives birth to a baby girl before the film flashes forward seven years later. The governor is a domineering and abusive husband. He's also polygamous and corrupt. When she meets Nhan, he reawakens the love that she has for him which she held onto for many years. On the surface, the plot feels operatic but without turning into a melodramatic soap opera. Fundamentally, it's about a young woman who find the courage to follow her heart and break free from her husband who emotionally suffocates her---at the very beginning of the film, she comments on how the village's nickname name, "Stifled Crab", also refers to how the women who feel like the crabs when they're stifled when the water recedes. The plot becomes increasingly complex, dark and suspenseful as it progresses. The twists and turns won't be spoiled here because they're part of what makes the film so unpredictable, exhilarating and surprising. Beyond the thrills, though, The Last Wife remains genuinely tender and engrossing. Kaity Nguyen and Thuan Nguyen give convincingly moving performances. They have palpable chemistry together, so the beats land during the very intense third act. The cinematography is exquisite while bringing out the majesty of Vietnam's natural landscape. Some scenes are simply breathtaking beyond words to behold. Moreover, director Victor Vũ does an exceptional job of adding some visual poetry, especially the final shot of the film. He and screenwriter Vo Nguyen Dan trust the audience's intelligence, emotions and imagination. Poetry, after all, is often a form of protest for or against something. So, ultimately, The Last Wife is a powerful protest for love and against hate. At a running time of 2 hours and 12 minutes, it's a rousing, tender and exhilarating love story.
 Our (Almost Completely True) Love Story  Mariette (Mariette Hartley) and Jerry (Jerry Sroka) have bad luck finding romance through dating apps. She's a Hollywood star and he's a Jewish comedian. When they meet at a bird store, he pursues her and asks her out on a date, but, initially, she's not as into him as much he's into her. . The screenplay by co-writers Mariette Hartlet and Jerry Sroka brims with wit, warmth and tenderness. It's refreshing to see a romcom with characters in their golden years who aren't just seen as "old"; they're lonely and yearning for love and affection just like everyone else. Mariette and Jerry don't hit it off right away. They seem opposites like Susan and David in Bringing Up Baby, but the more that they spend time together, the more that they like each other. The screenwriters grasp the concept that comedy is often rooted in tragedy. Although the film isn't unflinchingly dark, it doesn't shy away from showing Mariette's emotional pain which makes her all the more human and relatable. There are some scenes that feel a little contrived and exaggerated, but that's forgivable because not all romcoms have to be 100% true-to-life. There's no violence, no villains and, amazingly, no Viagra jokes. Fortunately, even during the ending which can be seen from a mile away, Our (Almost Completely True) Love Story avoids becoming clunky, maudlin and schmaltzy----schmaltz belongs in matzo balls, not in a film! Mariette Hartley and Jerry Sroka are magic together. They have palpable chemistry and wonderful rapport that helps to ground the film in humanism, so the beats land during the comedic moments and the more heartfelt moments as well. It's always a great sign when you want the leads to end up together in a romantic comedy. Thank you, Mariette and Jerry, for your emotionally generous performances and, above all, for seeing and treating these characters as empathetic as complex human beings, warts and all. At a running time of 1 hour and 33 minutes, Our (Almost Completely True) Love Story is a sweet, funny and charming romantic comedy. It would be a great double feature with Boynton Beach Club, Play the Game and The Salt of Life.
 The Oath  Moroni (Darin Scott), the last remaining Nephite, goes on the run from his enemies, the Lamanites, led by the despotic King Aaron (Billy Zane). He rescues Bathsheba (Nora Dale), a young woman who happens to be King Aaron's mistress. They fall in love while King Aaron hunts him down. The screenplay by writer/director Darin Scott and co-writer Michelle Scott is a shallow, overstuffed and undercooked mess with clunky exposition. Set in 400 A.D., The Oath throws the audience right into the moment that Moroni is struggling to stay alive as the last survivor of the Nephite people. On-screen texts explain the basic concept that the Nephites and Lamanites are each other's enemies, but later on there's a slightly more detailed albeit convoluted explanation of what led to their rift. Despite a premise that seems like it could be gripping and exciting, it doesn't even come close to accomplishing those feats. In other words, it's yet another case of an interesting premise that's poorly executed. The dialogue often sounds stilted and often on-the-nose. Moreover, Moroni remains a stranger to the audience because the screenplay doesn't provide enough of a window into his heart, mind and soul. There's a lot going on inside of him, but the film isn't interested in exploring that. King Aaron comes across as a one-note, cartoonish villain who's among the many underdeveloped characters. The Oath ultimately falls flat as a thriller, drama and romance while failing to make an emotional impact.
The performances are mediocre at best, but, to be fair, they're undermined by the vapid screenplay. Darin Scott and Nora Dale lack chemistry as Morono and Bathsheba barely get to know each other throughout the course of the film. The flashbacks are distracting, and the editing feels very choppy at times. There's also too much use of slow motion which is awkward and unnecessary while diminishing any modicum of realism that the film tries ever so slightly to achieve. The only aspect that stands out is the picturesque scenery, but that's not nearly enough to keep the audience entertained. At a running time of 1 hour and 44 minutes, which feels more like 2.5 hours, The Oath is clunky, dull and undercooked while very low on thrills, suspense and emotional depth.
 The Perfect Christmas 
 Poor Things  Dr. Godwin Baxter (Willem Dafoe), a scientist, brings Bella Baxter (Emma Stone) back to life using the brain of her unborn child while prohibiting from leaving his home. Max McCandles (Ramy Youssef), who's tasked with looking after her, falls in love with her instead and they get engaged to be married. She runs away with Duncan Wedderburn (Mark Ruffalo), a lawyer who's supposed to draft her and Max's marriage contract. Based on the novel by Alasdair Gray, the screenplay by Tony McNamara deftly blends sci-fi, dark comedy, horror and satire elements. With a less sensitive screenplay, Poor Things would've become a convoluted, tonal mess that's bizarre just for the sake of being bizarre. The plot, which has many shades of Mary Shelley's Frankenstein does, indeed, go bonkers and take big risks with a few scenes that will be referenced a lot in the future. Bella is like a whirlwind of character. She's erratic, childlike, curious and very unpredictable. There hasn't been a character like hers on screen before, so prepare to be overwhelmed at first. There's more to her than meets the eye, and it's fascinating to watch how she evolves into more of a functional adult throughout the course of the film, although she's still bizarre. Her creator, whom she refers to as God, is essentially the film's villain like Dr. Frankenstein. However, McNamara doesn't treat him as a cartoonish villain nor is his relationship with Bella simple which makes it all the more interesting. There are even surprisingly poignant moments which won't be spoiled here. Once Bella escapes with Duncan, Poor Things turns into an even more surreal experience with shades of Buñuel because of all of the symbolism. Director Yorgos Lanthimos and screenwriter Tony McNamara include so much attention to detail, imaginative world-building, and room for interpretation that it will take multiple viewings of Poor Things to fully appreciate it. In terms of production values alone, Poor Things is a triumph. The costume design, set design, cinematography, lighting, use of color and makeup design combine to create a dazzling visual spectacle. The music score is also well-chosen and helps to compliment the film's off-kilter, eerie atmosphere. Director Yorgos Lanthimos uses similar Dutch angles and fisheye lenses that were used in The Favourite, but here they highlight the surrealism more effectively. Emma Stone gives a tour de force performance. She deserves an Oscar. Everything from her body language to the way that she delivers her lines captures Bella's inner life as well as her very eccentric personality. There are more than a few sex scenes with some unflinching nudity that earns the film its R rating, but what Stone should be commended for the most is her emotional nakedness on screen. It's a brave, physically demanding performance which she convincingly nails from start to finish. Willem Dafoe is also superb and very-well cast. It's his best performance since playing Nosferatu in Shadow of the Vampire. At a running time of 2 hours and 21 minutes, Poor Things is a mesmerizing, provocative, audacious and outrageously funny trip down the rabbit hole.  The Three Musketeers: Part 1 - D'Artignon  D’Artagnan (François Civil) joins the three musketeers, Athos (Vincent Cassel), Aramis (Romain Duris), and Porthos (Pio Marmai), to protect the King Louis XIII (Louis Garrel) and France from Le Cardinal de Richelieu (Eric Ruf) and Milady (Eva Green).
Based on the classic novel by Alexandre Dumas, the screenplay by Matthieu Delaporte and Alexandre de La Patellière blends action, suspense and intrigue with mixed results. On the one hand, it remains loyal to the source material without taking any major risks. There are too many characters, though, and some of them, like Anne d'Autriche (Vicky Krieps), are underdeveloped and poorly introduced. You can feel the wheels of the screenplay turning which isn't a good sign. On the other hand, it's sporadically thrilling with a plot that's mildly engaging without becoming too dull or tonally uneven like the recent Hunger Games and Napoleon. When the film focuses on D'Artagnan and his bond with the three musketeers, that's when it's most entertaining moments. Everything else just feels like undercooked subplots which, hopefully, will be cooked more in Part 2, but here they somewhat diminish the narrative momentum. Fortunately, that momentum picks up again during the swashbuckling scenes. In terms of production values, The Three Musketeers: Part 1 - D'Artagnan has terrific production design, costume design and cinematography which combine to create a visually stunning and cinematic experience. The editing is fine, although some scenes could've used a trimming and the pace could've picked up speed at times, so there are, indeed, issues with uneven pacing. The film is lucky to have a fine ensemble cast filled with talented actors and actresses who manage to rise well above the shallow screenplay and breathe much-needed life into it. You'll root for D'Artignon not because of the screenplay, but rather thanks to François Civil's charismatic performance. Vicky Krieps is wasted here, though. At a running time of just over 2 hours, The Three Musketeers: Part 1 - D'Artagnan is well-produced, mildly engaging and occasionally thrilling, but undercooked and overstuffed.
 Un Varón  Carlos (Dilan Felipe Ramirez Espitia), a teenager, struggles to survive living in a shelter in Bogotá, Colombia while his mother remains incarcerated and his sister, Nicole (Juanita Carrillo Ortiz), works the streets as a hooker. Writer/director Fabián Hernández has woven a tender and understated coming-of-age film. It's light on plot and exposition, but heavy on emotional grit as Carlos deals with violence and peer pressure while trying to prove his masculinity. He goes to a prostitute not because he really wants to, but because he feels like he has to in order to be accepted among his friends. He might seem strong and tough on the outside, but inside he's weak and vulnerable. After all, he's still a child. Without any good role models in his life, he feels lost and insecure. Not a lot happens in Un Varón that's palpably intense. Hernández opts for a "slice-of-life" approach that resembles a documentary initially. That's the test of a truly great narrative film: a narrative should feel as real as a documentary while a documentary should feel like a narrative. What's missing, though, is some much-needed comic relief to counterbalance the dark and somber tone which eventually begins to feel a little monotonous, but that's a forgivable flaw that's not systemic. Dilan Felipe Ramirez Espitia gives a raw and nuanced performance that further anchors the film's naturalism and authenticity. He doesn't over-act nor under-act. The cinematography, set designs and lighting also enhance that naturalism without being too showy or resorting to lots of visual style to carry the film. In other words, writer/director Fabián Hernández understands that there's enough emotional depth beneath the surface and innate conflict within Carlos' heart, mind and soul, so the film doesn't need anything to hook the audience beyond that. He also grasps the concept of "less is more" by keeping the film under 2 hour. The pace moves slow, but not too slow---no, there aren't any scenes with characters staring off into the distance for 10 minutes like there are in some "slice-of-life" films. At just 1 hour and 21 minutes, Un Varón is a quietly moving, understated and tender coming-of-age film.
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