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"Calum" (Paul Mescal) and his daughter "Sophie" (Frankie Corio) head off for a holiday in Turkey. Initially their experience reminded me of "Carry on Abroad" (1972) with the usual building works and booking errors, but soon they settle into a comfortable poolside routine and we begin to learn a little about the dynamic between father and daughter. The occasional conversation with their absent mother tells us the parents are no longer together and a series of ongoing vacation activities paired with brief flashbacks from the adult "Sophie" help us to follow the young girl's attempts to get to know her father better - and he, her - as they relax in the sunshine. This features a strong and confident performance from the young Corio and there is an engaging familial dynamic here between the two. His character is protective but indulgent, her's independent and curious - and auteur Charlotte Wells allows their characterisations to develop for us in a well paced, considered fashion. Nothing really happens here - and yet so much does with their relationship and their respective maturity. It has a realism to it - there are no "jump" moments as such, it's about evolution and both have plenty of scope for that. I am not sure it really needs to be seen at a cinema, but it is certainly worth watching when it hits the smaller screen.
I was pulled into watching this movie by the high ratings it received rather than the plot or the performers. So I find myself in the weird position of wondering if I am a bit thick and just didn’t “get it.” For to me the movie was a mess. There were some striking scenes and fine acting, but it all seemed disjointed and confused to me. Between shaky camera syndrome and recurring flashing images that meant nothing to me, I lost the thread of the story besides the obvious, which was showing the ongoing interaction between father and daughter. Several of the quiet scenes seemed to trail off and take on the appearance of a still life picture, and then suddenly we are in the next scene, Wait, what was the previous scene all about? There were a few hints alluding to the father’s melancholy state of mind and where it might have led him (since we were not told explicitly) and those scenes should have been critical ones driving the plot and the mood of the story. But they felt like they were offered just as sidebar information.
This is about an important topic in today's world - unrecognized mental health issues. First, let me say that the acting is tremendous. Paul Mescal did an awesome job of portraying the silence of depression. Even Frankie impressed me, like another Ana Paquin. This is a powerful story that clearly mirrors the unanswered questions in the life of auteur Charlotte Wells. This film has been added to my movie list "Directors About Themselves". https://letterboxd.com/sirlaffalot/list/directors-about-themselves/ I was really only not pleased with the introduction of Older Sophie's domestic life. We don't learn anything about them and it leaves a hole in the overall script.
Would almost describe it as boring except I felt very uneasy and on edge the whole time. A humanistic portrait of a father-daughter relationship that evokes the question of what is it to be a good father.
I unintentionally farted during the movie's perhaps most serious scene and started laughing because of the contrast. Then, as the character on-screen started sobbing, I started laughing harder, and I couldn't stop myself, and tears started rolling. That's a true story, and by far the best moment of the movie for me. I wanted to like this movie as my brother recommended it, but it's... Toxic. I can tell from the songs that are played throughout that someone in my age group made this. But... It's narcissism. It's like a shit teenager from when I was a teenager grew up, and never became an adult. Whoever made this is a piece of shit. That's what I'm left with. I want nothing to do with the father in this movie, I don't want to know how his broken daughter is trying to become unbroken. I don't want anything to do with anyone involved in making this movie, unless they thought they were making a scathing commentary of how narcissism becomes negative heritage for the unfortunate descendants of them.
Lester Burnham, a depressed suburban father in a mid-life crisis, decides to turn his hectic life around after developing an infatuation with his daughter's attractive friend.
As Anna and her girlfriend Mia spend their last hours together before Anna sets off to leave Milwaukee to join the Peace Corps, Mia is troubled by her departure.
Reese finds herself in the desert after a party when her drunken girlfriend hurts someone. When she wakes up, they are preparing for the same party. The time is ticking to solve the time loop, while those around her become increasingly beaten and broken, mentally and physically.
A woman who desperately wants a baby asks a girl who is considering abortion to give her the baby instead. The two arrive at an isolated vacation home to spend time in seclusion until the girl gives birth to a baby, but they unexpectedly encounter a mysterious young painter and some criminal hunters.
A man becomes lured into a fictional game his ex-girlfriend has initiated. Sexually ensnared by her, and now realizing the fragility of the border between the real and the imagined, he begins to unravel. He convinces himself that if he can only write an ending to his life story, he can regain control of his life. But playing with fiction is not an innocent game…
Two girls clean places after somebody dies there. Sometimes they sell the belongings of the dead at a flea market. When they meet an odd guy who has a passion for boxes, a strange game unfolds. An unconventional love story about the oddity of ordinary things. Eccentric and natural at once.
Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.
A woman named Kit moves back to her parent's house, where she receives a mysterious invitation that would fulfill her childhood dreams.
This is a story about a Neapolitan guy, Antonello, immigrant in Turin, who, for a living, hooks on the street as Rosatigre. Sasà, a friend of his, tries to bring him back to Naples, but, after a tortured decision, Antonello chooses to come back North and to keep living “on the street”.
Eight-year-old Elvis’ world begins to sink when his mother marries an immigrant stranger for money.