Celine Sciamma’s films are uniquely attuned to examining the female body, without a whiff of exploitation or a sexually charged agenda to be seen. After tackling films dealing with puberty and gender dysphoria, she’s taken a seemingly unusual step for her fourth feature, 18th century period drama Portrait of a Lady on Fire. No longer is she dealing with the struggles of young people as they deal with their changing bodies, but she is taking the logical next step, crafting a romance all around the very idea of capturing the essence of the female body in a work of art.
The film to which Pain and Glory has been most extensively compared is Federico Fellini’s 8 1/2, the Italian director’s genre-bending, meta textual examination of a filmmaker crafting his most ambitious project to date. Both films are excellent, but the comparisons prove to be something of a dead end; Fellini was more preoccupied with the process of filmmaking itself, while Almodovar is interested in exploring the human factors that would inspire somebody to tell a story in the first place.
There’s a strikingly realistic tone to this Brazilian drama, pulling the audience into the experiences of a teen who is being squeezed in from all sides. Socrates was created in a workshop of young people between the ages of 16 and 20, and it’s the feature debut of Brazilian-American filmmaker Alexandre Moratto.
As far as first dates go, you’d struggle to think of any that are worse than this. Josef arrives at the lavish apartment where John lives. The pair had met before and agreed to a date, but Josef was too wasted to remember the specifics – a detail that becomes insignificant due to the mounting awkwardness that envelops their evening.
Marilyn is based on a true story, but tries its hardest not to transform into reductive misery porn, or emotional exploitation. It offers an intimate look at the life of a queer teenager figuring out their identity in a small town, acknowledging the (often violent) hostility they would face, while still acknowledging the expected identity crisis that is teenage life beyond these harrowing moments.
Filmmaker Wim Wenders once famously said, “The camera is a weapon against the tragedy of things, against their disappearing.” By virtue of association, filmmaking can be seen as an act of preservation. All throughout This Spring (Au printemps tu verras), there is a constant reference to the passing of time, the importance of memories and the importance of remembering.