Tomas (Franz Rogowski), who we meet directing a film crew with all the people skills of Malcolm Tucker, knows exactly what he wants from fiction. The film that gave us the “now we know what Paddington topping sounds like” tweet, Passages is Ira Sachs’ hilariously Parisian ménage-à-trois. With Rye Lane, romantic comedies are well and truly back, and this one is tender (and a little sweetly sour) in all the right places. Brilliantly observed and seamlessly delivered, its comedic rhythm carries heartbreak with ease and warmth. With pops of colour and a wide lens, it celebrates South London in all its glory. The result is a love letter in and of itself. ![]() Rye Lane is a gorgeous testament to the wonder of unexpected connections. Fresh off their respective breakups, a chance encounter sees Dom (David Jonsson) and Yas (Vivian Oparah) spend a day righting relationship wrongs with joy and mischief. It succeeds in coalescing into a taut and moving thriller powerful enough to make you feel complicit in climate destruction, and ask yourself: would I do the same? The film itself is a high-wire balancing act: a bold adaptation of a book of political theory, a diverse and youthful ensemble cast, multiple intersecting storylines, a flashback plot device making every freeze frame and cliffhanger even more gasp-inducing. “This is an act of self-defence,” goes the tagline for Daniel Goldhaber’s story of a misfit group of hardcore environmental activists looking to hit the pockets of a major polluter. With Mahler, Elgar and Bach counterbalanced by Hildur Guðnadóttir’s chilling score, Tár is an ambiguous, deliberately alienating, and fascinating portrait of corruption. Cate Blanchett’s performance flashes between cool, cultured control seeped in heterodox power structures and a baser fear as past indiscretions bring down her meticulously constructed world. Todd Field’s controversy-courting portrait of a monstrous maestro is at once a tawdry satire of the classical music industry an impartial examination of cancel culture within a heightened yet recognisable world and a tortured ghostly fantasy where fact and fiction, condemnation and celebration are presented with equal weight (did Lydia Tár even know Leonard Bernstein?). Stunning to behold and upsetting to process, Oppenheimer's cast of literally everyone you've seen in movies before is led by a perfectly anomalous and isolated Cillian Murphy. But in scaling down his finely designed spectacle to the perspective of a man who originated the destruction and anxiety that the world would thereafter be defined by, it's clear that Nolan's films can still feel titanic even if they're action-free historical dramas. įragmented, reactive psychology is not something Christopher Nolan films are known for – and that includes the one that takes place largely in people's minds. Standing in front of each other for the first time in two decades, Nora and Hae Sung can only wonder what might have been. Soft-spoken yet thunderously powerful, Past Lives is truly special. One day, her childhood sweetheart Hae Sung (Teo Yoo) steps off a plane from South Korea and back into her life. Heartwarming and heartbreaking in equal measure, Celine Song’s stunning debut is a love story about missed connections, sliding doors and paths not taken. Nora (Greta Lee) is living the dream out in New York, working as a writer and sharing a home with her loving husband, Arthur (John Magaro). The audacious coda – wherein Scorsese reflects on his own role as teller of this tale – is as ingenious as it is profoundly moving. It’s a monumental film, growing in power through every one of its 216 minutes. ![]() Discarding the investigative aspect of David Grann's book, Scorsese and co-writer Eric Roth give us an unblinking portrait of greed, evil and complicity, as the oil-rich Osage community is destroyed from within. Along with Martin Scorsese’s The Wolf of Wall Street and The Irishman, Killers of the Flower Moon constitutes a stunning late-career trilogy examining moral rot in 20th-century America.
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