Creator of hit horror films Legacy and Midsummer, Ari Astaire, is moving on to a project with a slightly different texture, starring the great Joaquin Phoenix. The American actor plays Bo, a middle-aged man with phobias more typical of a junior high school student. With panic attacks and general paranoia, Bo prepares to visit his beloved but judgmental mother when, on the eve of his departure, he learns that she has been brutally murdered. Desperate and now on the brink of insanity, he sets out to attend her funeral, on a journey that will prove to be absolutely chaotic both on the road and in his own mind. In what is arguably his most ambitious yet anarchic film to date, Astaire decides to confront as many human nightmares as possible. From loneliness and depression to the horror of rejection and failure, Bo goes through all the stages of despair, sometimes all at once. And if in other places the situation is clearer (for example, when the classic nightmare of street exposure comes to life), then in some cases it is clear that the creator is being led along the path of rather self-referential associativity. In any case, we have before us an interesting, albeit a marathon (three-hour) set, with moments of genius, but also clearly uneven in design and execution.

Renowned British director Terence Davies signs a biography of Siegfried Sassoon, one of the most talented but misunderstood poets of the interwar period. On the eve of the first major conflict in Europe, Sassoon, who has served on the front lines, again tries to find himself haunted by what he has witnessed. His work draws the attention of London’s aristocracy until his natural frankness and sexuality get in the way. Long-winded and at times somewhat chatty, Davis’ film introduces us to an intellectual hero who is nevertheless able to express the deepest emotions directly and humanly. This characteristic of him contrasts sharply with the environment of incredible English snobbery, which appears here in all its phlegmatic glory.

On the trail of the killer ★★½
THRILLER (2023)
Directed by: Damian Ziffron
Cast: Shailene Woodley, Ben Mendelsohn.

Damien Ziffron of the wonderful Stories for the Savages describes here a completely different film, with suspense at its center. Up-and-coming Shailene Woodley (Secrets and Lies) plays Eleanor, a young police officer on duty when a horrific massacre rocks Boston. When she begins searching for the killer, the head of the FBI (Ben Mendelsohn) singles her out and adds her to his team. Somewhat strange and not always realistic scenarios, Cifron’s film, nevertheless, holds the audience’s interest thanks to a very good pace, atmosphere and solid acting. The psychological undertones aren’t something we’ve seen before, but the twists and turns and idiosyncratic climaxes of this bizarre crime thriller certainly won’t go unnoticed.

High gastronomy meets humanitarian spirit in the usual good humor comedy. Cathy (Audrey Lamy), a 40-year-old chef’s assistant, suddenly loses her job and faces serious financial problems. As a last resort, she gets a job as a cook in an unaccompanied juvenile shelter, where, with the help of troubled but enthusiastic teenagers, she equips an original kitchen that is a pleasure for both taste and a wounded soul.

Lunana, yak in class ★★★
DRAMA (2021)
Directed by Pow Choyning Dory
Interpretations: Serab Dori, Hugien Norbu Ledap

From distant Bhutan comes a family film nominated for the Oscar for Best International Film of 2022. A young teacher is preparing to leave for Australia, but first he must complete his term in the country’s most remote village, Lunana.

There, in a place without electricity, textbooks and a proper toilet, Eugene will face great difficulties, but also a wonderful micro-society that will deeply touch him and change his perception of life.