If I Had Legs I’d Kick You
Written and Directed by Mary Bronstein (Yeast)
USA, English

If stress is a prominent part of your life, then MIFF’s opening night film will be anything but escapism!

Our very own Rose Byrne throws absolutely everything she has into the role of a mother whose every part of her life: her ill daughter, absent husband, water-damaged apartment, therapist job and every human interaction she has all fall apart. Can she identify and face the only solution available to her? A solution that is much closer than she may realise.

If I Had Legs I’d Kick You is difficult to sum up in a few words or sentences. The palpable and constant stress Rose Byrne’s lead character Linda is under can make this challenging to watch courtesy of how absorbent it is. That is a compliment to her stellar performance and an observation of the film, not a criticism. At times, the screenplay and directing are quite abstract, yet they are also not without moments of sheer clarity in conveying the film’s themes and bursts of black comedy: the latter being something If I Had Legs I’d Kick You needs more of. Overall, this is a creatively made film in which writer and director (and co-star) Mary Bronstein shows a lot of promise as a filmmakers and delivery upon a fair portion of it throughout.

3.5/5

Blue Moon
Directed by Richard Linklater (Hit Man, Last Flag Flying, Boyhood, Before Sunrise)
USA, English

During the opening night of Oklahoma! in 1943, American lyricist Lorenz Hart reflects in bittersweet fashion over the past two decades of his career, where he collaborated with Richard Rogers, one half of Rogers & Hammerstein and co-writer of Oklahoma! Almost all of

Despite the confines of its setting and heavy narrative demands, Blue Moon functions wonderfully courtesy of its writing and performances. The dialogue throughout, together with four-time Oscar-nominee ® Ethan Hawke’s brilliant career-best performance (which I am tipping will earn him a third acting and fifth overall Academy Award ® nomination), consistently and eloquently extracts the deep sadness masking the wit and jocularity often on display. The second half of this competent picture then adds another fine performance from Andrew Scott as Rogers that could get the Academy’s ® attention also.

3.5/5

Sirât
Directed by Oliver Laxe (O Que Arde, Mimosas)
France, Spain. French, Spanish.

A stunning sensory and visual experience starring Pan’s Labyrinth’s Sergi López as a father, Luis, who together with his son Esteban and their dog, search through the unforgiving desert landscape and its brutal conditions in search of Luis’ missing daughter, who they hope to locate at a Moroccan rave.

What an incredible and memorable journey Sirât takes viewers on! A production that demands the big screen experience, this mightily atmospheric and absorbing film has a trance-infused and terrific soundtrack, is edge-of-the-seat tense and is never far from the emotions. This Jury Prize winner at Cannes is a true filming feat whose only conundrum might be how and where it chooses to end.

4/5

Move Ya Body: The Birth of House
Written and Directed by Elegance Bratton (The Inspection, Pier Kids)
USA, UK. English.

For more than two decades, I have absolutely loved house music. Though I already knew certain facts about the origin of house prior to watching this documentary, I attended this film hoping to deepen my knowledge and for the uplifting nightclub/dance party atmosphere house music has always provided.

Well, I consider my knowledge deepened, so tick there. Quite the contrary on the feelings front, however!

The content shared throughout Move Ya Body: The Birth of House is informative and important in areas that are far beyond house music. It does a good job of chronicling the great adversities and injustices faced by those pioneering and pursuing house music (and disco before that), and the freedoms their safe space to share provides them with, but the overall tonal balance of this documentary is often anything but what house music brings to its fans. This film just had to be equally nostalgic and an escapism into its music as it brought forward with insight.

3/5

Eddington
Written and Directed by Ari Aster (Beau is Afraid, Midsommar, Hereditary)
USA, English

As a close admirer of Ari Aster’s work, Eddington was one of the films showing at MIFF I had most anticipated. His fourth feature film, a neo-Western satirical black comedy set during the Covid pandemic in May 2020, is an ambitious and wildly entertaining affair, but is some distance from being his best work.

It stars Joaquin Phoenix as a small town sheriff who refuses to comply with covid mandates enforced by the local mayor, played by Pedro Pascal. Already at odds with each other, the situation intensifies when the sheriff decides to challenge the mayor’s run for re-election. This film’s screenplay features a smorgasbord of social and political issues that strike the small town of Eddington in clever and realistic ways, such as co-star Emma Stone’s turn as the sheriff’s mentally ill but recovering wife, the use and influence of social media and growing racial-related tension in the country that is coming closer to Eddington.

While it is easy to become lost in the maze of commentary and references made and not always possible to be on the same wavelength as Ari Aster, it is effortless to always appreciate the bigger picture of what he is conveying in the madness that unfolds. Sit back, relax and let the fireworks begin!

3.5/5

The End
Directed by Joshua Oppenheimer (The Look of Silence, The Act of Killing)
USA, UK, Germany, Italy, Denmark, Ireland, Sweden. English.

J. Robert Oppenheimer will always be known as the father of the atomic bomb. The End director Joshua Oppenheimer (no relation) will always be known as the maker of this bomb! I am not ordinarily so harsh. I am sorry. To be fair, The End is not a complete… abomination (sorry, not sorry). The reality is though; its end cannot arrive soon enough.

What sounded experimental on paper turns out to be exactly that, and a failed one. The End actually gets off to a solid start as it introduces audiences to a family of three and a few others who reside together in a luxurious underground bunker located in a salt mine. They have lived undisturbed this way for two decades until suddenly a stranger finds her way into their home.

This dystopian and dramatic musical feature initially works. Character discourse surrounding their past, certain taboo topics such as the mother’s family and the state of the outside world draw interest and the first couple of songs are quite tuneful. Eventually, tedium sets in as the screenplay takes lengthy pauses in developing worthwhile plot, the film’s unevenness in directing and tone leave it a thematic mess, and the musical numbers sound repetitious and become unnecessary. At two and a half hours, The End is way overlong and has an aura of off-putting self-importance.

2/5

First Light
Written and Directed by James J. Robinson (Feature film debut)
Australia, Philippines. Tagalog.

The first ever co-production between Australia and the Philippines introduces a sincere, gentle and mature new voice to Australian cinema in writer and director James J. Robinson, whose debut feature is a very thoughtfully conceived one.

In a dilapidated 400 year-old building and convent, a pure of heart and honest nun has devoted most of her life to practicing her faith and values. Her convictions and loyalty are challenged, however, when she becomes privy to concerning details pertaining to an accident that has occurred at a local construction site and involves some close acquaintances.

It does take some time for First Light to arrive at the development that instantly opens thought-provoking themes, builds more plot trajectory and evolves characterisation, but it absolutely worth the wait. A steady filmmaking hand is employed to ensure this contemplative drama maintains its pacing and integrity all throughout as the screenplay brings to light some darker actions that are committed and compels us to consider some very worthwhile questions.

3.5/5

The Blue Trail (O Último Azul)
Directed by Gabriel Mascaro (Neon Bull, Divine Love)
Mexico, Chile, Netherlands, Brazil. Portuguese.

The Brazilian government are so grateful to their elderly population for the life they have devoted to their country, they feel obliged to go to extreme lengths to show it. How? By transporting them via a “Wrinkle Wagon” and forcibly relocating them to ‘The Colony’, a distant area where they’ll spend the remainder of their lives. 77-year-old Tereza has other plans. Wishing to maintain the remaining little bit of freedom there still is, she embarks on a solo adventure.

The journey that follows for our protagonist maintains curiosity courtesy of its unpredictability and mythical edge but lets go of the thematic attention to detail shown while conveying the initial premise. The Blue Trail is a fair but ultimately forgettable film that I wish formed something more from its screenplay to build on its premise. Thankfully, at under 90 minutes, it never overstays its welcome.

3/5

Lurker
Written and Directed by Alex Russell (Feature film debut)
USA, Italy. English.

A rising star of the music industry invites a stranger into his inner circle after randomly striking up an impressionable conversation. Little does he know though, their chance encounter is not a complete coincidence!

Lurker’s often effective but sometimes irritating camerawork and its score succeed in creating a grounding presence throughout. It is especially effective and the film at its psychological best when Lurker’s lens lingers upon that aforementioned stranger, Matthew (a noteworthy performance from Théodore Pellerin), absorbing his facial reactions and inner thoughts. Its narrative, however, let me down and does not come close to seizing its full potential. It feels hastily written and merely skims the surface of many suggestions it makes that culminate in a promising but frustratingly ambiguous film.

3/5

Adam’s Sake (L’intérêt d’Adam)
Written and Directed by Laura Wandel (Playground)
France, Belgium. French.

As Adam’s Sake commences, our titular 4-year-old boy is in hospital with a fractured arm and is in a worryingly malnourished state. By his side is his concerned mother, Rebecca, who does not want to be apart from her son, but must obey a court order allowing her visitation rights during meal times only. This very sensitive situation is being overseen by senior nurse, Lucy, who wants to afford Rebecca the benefit of doubt and help her to stay with her son, despite constantly clashing with colleagues over her decision-making. But who knows what actually is best for Adam and which person gets to decide that? 

The conundrum presented before us in Adam’s Sake (also known as Adam’s Interest) is simply riveting to witness. Captured in real time, the film absorbs every ounce of the tension, panic, vulnerability and urgency of its rapidly changing scenario via its largely handheld camerawork, its score and excellent performances and offloads this onto viewers in the most rewarding way possible. It also accomplishes this by not wasting a second of its short and sharp 78 minute run time. Furthermore, its moral components are arguably more effective than it is to the senses. Adam’s Sake’s screenplay truly stands out in not allowing us the right to know Rebecca’s intentions for her child throughout, what the outcome of those intentions will mean for Lucy and the decisions being made, and has no barriers to feeling some level of empathy for everyone involved, but especially towards Adam. A MIFF gem.

4/5

The Secret of Me
Directed by Grace Hughes-Hallett
UK. English.

Don’t judge a film by its cover. This feels like an extraordinarily fitting thing to say of this remarkable documentary feature, especially if you were to merely observe a clip of this documentary without paying closer attention to what you’re seeing. This film powerfully chronicles how one person came to learn of a painful truth kept hidden from them for their entire life and follows them as they confront those who hid the truth and meets with someone who can be held accountable for that titular secret. The courage on display from our subject is more than admirable; it is inspirational and lends a mighty voice to raising awareness of and doing the utmost to stop a certain practice that is unfathomably still globally done today.

4/5

Stranger Eyes (Mò shì lù)
Written and Directed by Siew Hua Yeo (Huan Tu)
Singapore. Mandarin.

Mandarin movie Stranger Eyes is one of the most awesome, impressive and downright baffling pieces of work I have seen in recent times, all packaged as one.

What is at first and ostensibly a missing child story with a stimulating theme of voyeurism at its helm transitions into something other than by the end of its just over two hour duration. Your ability to comprehend as much of that ‘other than’ as possible stands as the deciding factor how strongly (or not) to rate this film.

For me, despite my remaining uncertainties about where this went and how clumsy I believe its intricate details are handled, there is a lot to like about Stranger Eyes. It is quite a treat for the senses for one. The camerawork cleverly compliments its theme of voyeurism and the film’s score is simply cool. Other themes the screenplay allows viewers to derive offers many possible meanings and messages to convey from it. Furthermore, while it is pursuing the disappearance and possible abduction of the missing child, the film has many moments where it is utterly intriguing. Unfortunately though, in addition to its aforementioned woes, the great momentum built throughout drops away significantly during the final third of the film and it felt like writer & director Siew Hua Yeo had problems with knowing how best to conclude his ambitious but ambiguous movie.

3.5/5

Hallow Road
Directed by Babak Anvari (I Came By, Wounds, Under the Shadow)
USA, UK, Ireland, Finland. English.

During a compact 80-minute run time, parents Frank and Maddie (Rhys and Pike) do everything they can to help their daughter Alice who has just been involved in a serious collision. As they give instructions, often contrasting as they can’t agree on what help looks like for Alice, over the phone while driving to the remote forest location of the incident in the middle of the night, the situation quickly escalates for all involved.

Despite its visual limitations (and it’s even creative in this department) Hallow Road’s creatively conceived and well written screenplay, and its effective use of sound transports viewers well beyond its vehicular setting, providing excellent real-time entertainment that comprises some neat twists! If you liked The Guilty starring Jake Gyllenhaal (or the original Danish version) and/or The Call starring Halle Berry, then this is certainly one to add to your watch list.

4/5

Young Mothers (Jeunes Mères)
Written and Directed by Jean-Pierre Dardenne, Luc Dardenne (Two Days One Night, The Kid With a Bike, Lorna’s Silence, The Child)
France, Belgium. French

Belgian filmmaking duo The Dardenne brothers are known for their empathetic social realism dramas; much like their British counterpart, Ken Loach. The newest addition to their lengthy and impressive decades-long catalogue, Young Mothers, is no exception to what cinema aficionados know and appreciate them for.

This absorbing and involving tale set inside a shelter for new and very young mothers in Liège, Belgium, chronicles their present day challenges early into motherhood and provides valuable insight into the circumstances that led to them requiring this specific support. The staff make it very clear to their female clients that the purpose of the home is to provide stability and support until they are ready to move to the next step. It is not a creche and there are guidelines to be followed and respected by all parties.

This film is recommended to anyone who values social realism in film as equally as they do cinema’s ability to completely divert your attention to a different type of escapism within someone else’s reality yet remain deeply connected to your own inner feelings while doing so.

3.5/5

The Exit 8 (8-ban Deguchi)
Directed by Genki Kawamura (A Hundred Flowers)
Japan. Japanese.

Is The Exit 8 the greatest film adaptation of a video game we have ever had?

As a non-gamer, that is for me to find out and for you to answer! As a film buff, it certainly converts into one unique and highly interactive film that doesn’t simply entertain; it completely immerses viewers into its world, and you’ll immediately find yourself irresistibly participating alongside its few characters!

The set-up is as simple as they come. Man exits a crowded train in an underground Japanese subway. Attempts to exit the platform and inexplicably finds himself stuck inside the same passages over and over again. He soon realises what is required of him to find the exit. Exit 8.

The Exit 8’s sheer capability at being the interactive experience it is would be enough on its own to justify the admission fee. Add inventive camerawork, a dynamic score and a meaningful theme constructed into its maze-like mysterious premise to the mix, and you’re in for a real treat.

4/5

Familiar Touch
Written and Directed by Sarah Friedland (Feature film debut)
USA. English.

A coming of old age tale where we accompany octogenarian woman Ruth as she relocates from her home to an assisted living facility. Physically, Ruth is more than capable at looking after herself, but her memory is less reliable, though she is determined to prove she remembers everything she needs to just fine. 

This patiently and tenderly rendered feature film debut from Sarah Friedland gently depicts the resistance and challenges that understandably come with transitioning to assisted living and importantly doesn’t forget to include the light-hearted and endearing moments that also occur. Courtesy of this, its empathetic treatment and a terrific lead performance from Kathleen Chalfant (whose voice and facial expression are reminiscent of the great Meryl Streep), this Venice Film Festival multiple award winner proves its capabilities at resonating with a wide audience.

3.5/5

The Baltimorons
Directed by Jay Duplass (Jeff Who Lives at Home, Cyrus, Baghead)
USA. English.

Co-written and produced by star Michael Strassner, The Baltimorons has all of the right and bright ideas to be the next Christmas movie hit. Let’s hope its release coincides with this year’s festive season!

On the eve of Christmas, Cliff (Strassner) accompanies his fiancée to a family dinner but never makes it through the front door after having a clumsy mishap that requires immediate dental work. That dentist, the only one in Baltimore willing to work on Christmas Eve is Didi (Liz Larsen), a middle-aged divorcee who is less than impressed at having to work out of the blue. Yet, somehow, Cliff and Didi’s time together gets extended and a new romance for both looms.

It is effortless to embrace what The Baltimorons has to offer courtesy of its go with the flow treatment, the winning chemistry shared between the two leads, and the winning formula of the screenplay. This film has been beautifully written. Its two central characters both carry emotional scarring, and it is through this that they care, connect and derive newfound joy. This is a sweet and genuinely funny romantic comedy that reminded me a lot of The Big Sick.

4/5

1001 Frames
Written and Directed by Mehrnoush Alia (Feature film debut)
Iran. Farsi.

I had no idea what I was witnessing throughout 1001 Frames. It is framed as a documentary without narration and for most of its 87 minute duration, I was convinced I was watching a documentary! I do firmly believe it is worth knowing in advance this is a feature film and is a feature-length adaptation of Mehrnoush Alia’s award-winning 2015 short film Scheherazade.

Shot in Iran without a permit, the entire film is shot from the perspective of a movie director who is auditioning for roles in his upcoming project. What that project is and roles are though are shrouded in secrecy as the famous movie maker stares the lens upon and tests his young, beautiful and vulnerable aspiring actresses.

Partly due to believing I was watching a documentary, 1001 Frames is near unbearable to watch at times. I say that in the most complimentary way I can to the film. Even knowing this is a work of fiction, it is still powerfully realistic when applying what is seen here to similar and worse real-life scenarios that occurred in the presence of predators such as Harvey Weinstein. This picture depicts the use of power dynamics, manipulation and a predator preying on his prey at its finest and most frightening.

4/5

The Mysterious Gaze of the Flamingo
Written and Directed by Diego Céspedes (Feature film debut)
Germany, France, Belgium, Spain, Chile. Spanish.

The Un Certain Regard winner at the 2025 Cannes Film Festival is an incredibly unique film and story, a queer and trans one, to take place in a western setting. The year is 1982 in small mining town in Northern Chile. A 12-year-old girl, Lidia (a searing performance from Tamara Cortés), stands up for her adopted trans family when they are blamed by their community for the outbreak of an unknown disease believed to spread via eye contact.

The Mysterious Gaze of the Flamingo (what a ripper title, right!?) is a formidable entry into LGBTQIA+ cinema that succeeds at showcasing the importance of chosen family and community, and at raising themes (sadly) so relevant to today. The second half of the picture does lose some focus from where it ultimately needed to be and left me wondering where this was heading, but a strong finale, score and sense of belonging see it finish just that way. A commendable debut feature from writer and director Diego Céspedes.

3.5/5

Cutting Through Rocks
Directed by Mohammadreza Eyni and Sara Khaki (Convergence: Courage in a Crisis)
USA, Germany, Iran, Canada, Qatar, Chile, Netherlands. Farsi, Azerbaijani.

Give girls shoes but not paths!

That is a line spoken by a male civilian who appears on camera in this documentary. It is also, regrettably, a sentiment that is common among many men who inhabit a remote village in North Western Iran this documentary takes place. Thankfully, it is a sentiment the subject of this film: an inspirational and courageous motorcycle riding woman named Sara, is working tirelessly to change. She lives as freely as any woman in Iran can and blatantly refuses to conform to societal norms, even battling her own brothers as she attempts to become the first ever female council leader in her region. She will need to cut through rocks and barge her way through brick walls though if she is to win and bring real change, especially for women and children.

This is an excellent documentary that very affectionately captures its wonderful subject and human being at its centre. While its content can of course be sometimes upsetting, Cutting Through Rocks is surprisingly uplifting purely due to much of its emphasis being placed on the positive difference Sara intends and seeks to make in the lives of so many that are held back from even knowing their potential let alone fulfilling it. 

4/5

It Was Just An Accident (Yek tasadef sadeh)
Written and Directed by Jafar Panahi (Tehran Taxi, Offside, The White Balloon, The Circle, This Is Not a Film, Crimson Gold, 3 Faces, No Bears, The Mirror)
France, Luxembourg, Iran, Canada, Qatar, Chile, Netherlands. Farsi.

Iranian writer and director Jafar Panahi is well-known for being critical of the Iranian government: he has been imprisoned for this several times and copped a lengthy ban working as a filmmaker. Despite the ban now being lifted, he must maintain secrecy about his work and has had to work illegally with limited cast and crew. Remarkably, the oppression and these limitations not too many other filmmakers have to deal with is never evident and has not in any way prevented Jafar from executing another high quality film that took out the top prize awarded to a director at this year’s Cannes Film Festival.

A simple accident involving a family man will somehow connect him to a person’s act of revenge that is anything but conventional.

Without a doubt, this film’s most outstanding quality is its screenplay. Specifically, the manner in which Jafar Panahi unwraps the gift that is his layered and finely crafted pre-packaged story. The viewing experience that unfolds is unpredictable and surprises with its very calculated creation of humour derived from the situation at play and the bizarre turns taken. To know this was all conceived and executed under the aforementioned circumstances further warrants and justifies utmost appreciation.

4/5

Enzo
Directed by Robin Campillo (BPM – Beats Per Minute, Eastern Boys, Les Revanants)
France, Italy, Belgium. French, Ukrainian.

A construction site proves to be no place for an indifferent 16-year-old apprentice bricklayer who forms a crush on a male colleague he contends with in Moroccan born French filmmaker Robin Campillo’s fifth feature film.

Enzo does a good job of uncovering the complexities, conflicting thoughts and emotions and inner turmoil that come with the confusion its adolescent protagonist deals with. The titular lead character (an impressive debut performance from Eloy Pohu) is having to figure himself out in a hurry and isn’t afforded personal space to do it in, all the while needing to manage intense highs and lows.

This movie is capable of resonating on many levels and certainly did with me on some of those, but the concoction of Enzo’s predicament is not quite as fully realised or formed as I would have liked it to be.

3.5/5

Urchin
Written and Directed by Harris Dickinson (Feature film debut)
UK. English.

He’s a handsome and talented face in front of the camera, but what does Harris Dickinson (Triangle of Sadness, The Iron Claw, Babygirl) bring behind it?

A realistic and very human story that follows the plight of a man who is sleeping rough and struggling to overcome the substances and decision-making that have landed him there. Mike (an utterly convincing and committed performance from Frank Dillane) has aspirations and wants to get off the street but is need of more support than is accessible to him, especially when his triggers arrive and the going gets tough.

Dickinson’s directional debut is definitely a success. The themes he intends to raise from this story are realised, the lesser known supporting cast perform well under his guidance and make their characters organic and there is some promising artistry in filmmaking on display. Some of those latter mentioned scenes can be difficult to interpret and one might question the need for them, but they barely detract from the ultimate trajectory and purpose of the story. Solid job indeed.

3.5/5

The Rivals of Amziah King
Directed by Andrew Patterson (The Vast of Night)
USA, UK. English.

Should one of the four remaining films left for me to see at MIFF change what I am about to say, then I shall edit this next sentence.

Writer and director Andrew Patterson’s long-time passion project starring Matthew McConaughey, The Rivals of Amziah King, is the standout film of the 2025 Melbourne International Film Festival. I do not say that lightly, for you can see in this post I have seen many excellent films.

This all-encompassing experience isn’t perfect but earns its praise and lofty rating for being an utterly unique yet broadly accessible film, outrageously creative and entertaining beyond most imaginations, and because its stand-out features, of which there are many, are truly outstanding.

What starts out as a story about an outgoing, mandolin-playing beekeeper (played by Matthew McConaughey) evolves into so much more when he agrees to help find the owner of barrels of honey that have been stolen. Allow yourself to be entirely enraptured by what is a music-driven crime story and character drama, is insanely funny, features brilliant scripting whose plot takes us to some unforgettable and classic moments, boasts stunning film photography and camerawork and of course, irresistibly enjoyable music all throughout. Furthermore, performances are all first class, but two special mentions must be made. A star shines bright again and a star is born. Matthew McConaughey is epic. This is by far and away his best role and performance since his Oscar-winning turn in the sensational 2014 film, Dallas Buyers Club. On the flip side of all that experience McConaughey has, it is the unveiling of a new star that rises to the fore in Angelina LookingGlass. In her first ever on-screen performance, she exhibits incredible precision in her execution, lights up the screen every time she smiles and remarkably proves to be entirely competent at sharing the crucial leading role with Matthew McConaughey in this film.

The Rivals of Amziah King is sure to be on the radar of the Academy for the forthcoming 2026 Oscar ® nominations in several fields. Acting, writing, directing, music and cinematography, I’d like to think. I cannot recommend this stupendous cinema experience at the cinema more highly. 

4.5/5

Twinless
Written and Directed by James Sweeney (Straight Up)
USA. English.

An arguably career-best performance in a dual role by Dylan O’Brien (The Maze Runner trilogy) and ingenious writing by co-star and director James Sweeney take this irreverent and darkly funny picture to some disconcerting and psychologically deranged places.

The set-up: Roman (Dylan O’Brien) has suddenly and tragically lost his twin brother, Rocky (Dylan O’Brien again). Though too late now, Roman wishes he made more of an effort to truly understand his twin brother’s differences, namely his sexuality as a gay man. He sees and pursues this opportunity when meeting another gay man, Dennis (James Sweeney), at a support centre.

If you can refrain from learning anything more than what I’ve said above about Twinless, then be prepared to be shocked by what you will witness. You may know or think you know where this is going, and perhaps it will go that way, but the footsteps taken to arrive at its chosen destination is anything but a routine walk in the park. The unpredictability of the screenplay and randomness of the razor-sharp dialogue and directing by James Sweeney are quite exemplary from start to end.

I will admit, without being specific, the finale had me asking myself many questions. In the end, I could find reasons why this outcome is also entirely acceptable, even if it somewhat unfulfilling or not what is preferred. 

4/5

Next Films:

The President’s Cake (Mamlaket al-qasab)
Written and Directed by Hasan Hadi (Feature film debut)
USA, Iraq, Qatar. Arabic.

Two days before Saddam Hussein’s birthday, 9-year-old Lamia has her name hand-picked at school class as the lucky student tasked with baking the President’s birthday cake. One conundrum after another ensues trying to procure the ingredients though due to food shortages as a result of UN sanctions.

A rare film from Iraq, we follow Lamia, her beloved pet Rooster Hindi and friend Saeed as they search high and low for the handful of ingredients needed to make the cake. A little window of insight into its seldom seen setting, The President’s Cake consistently conjures ways to be endearing and even comical at times. Baneen Ahmed Nayyef is wonderful as Lamia, but I must admit it is the uncredited Rooster that steals every scene it appears in. 

One thing is for certain after watching this film, I will never complain again when one item on my shopping list is out of stock at supermarkets!

3.5/5

Mr. Nobody Against Putin
Directed by David Borenstein and Pavel Talankin (Feature film debut together)
Denmark, Czechia. English, Russian.

For years, Paval “Pasha” Talankin has been an ordinary Russian civilian happily working his job as the event coordinator and videographer at the school he graduated from in a small town known to be the industrial heartland of Russia and was once considered the most toxic place on Earth! Then, Russia’s “special military operation”, or more accurately, Russia’s illegal invasion of Ukraine, was announced by their President. This immediately changed the role of teachers and what they are to educate to children in schools.

It is brave in itself to go against what literally every person you co-exist alongside is following and spreading, irrespective of whether they are doing so through government and/or public coercion or not. Nonetheless, that is the stand that Pasha takes. But he doesn’t just stop there. Courtesy of old and new requirements of his job, Pasha opportunistically and dangerously smuggled footage taken on school grounds out of his homeland to expose the government-controlled propaganda teachers are forced to comply with in classrooms.

What we see is testament to Putin’s long-term vision and a vital part of his strategy for ensuring that vision is upheld long into the future, should it succeed, and provides insight that is rare as it is alarming. No, Pasha, you are not Mr Nobody to the outside world.

4/5