Breakwater review – troubled souls cross class and age barriers in nicely judged debut feature

An Oxford theology student and a middle-aged fisher are drawn together despite their many differences in an ambitious first film from Max Morgan This evocative debut feature from Max Morgan is a film of many contrasts. One is the May-December attraction between Otto (Daniel McNamee), a theology student and aspiring violinist, and John (Shaun Paul McGrath), a middle-aged fisher with a shadowy past. The worlds that they inhabit seem poles apart. Compared with the storm-ravaged Suffolk coast that curves around John’s rugged village, the imposing halls of Otto’s college at Oxford are at once grand and isolating. Despite their differences in age, the two men are bound by shared trauma and turmoil: both struggle with their sexuality and the loss of a loved one. The highly textured cinematography renders these inner conflicts strikingly tactile. The camera at times stays uncomfortably close to the main characters, highlighting the gnawing anxiety of not belonging. From the demands of a frustr...

The Narrow Road review – tough times for the downtrodden in pandemic Hong Kong

After deciding it’s time to seek help with his cleaning business, despairing Chak meets the zanily upbeat Candy

Set in Hong Kong during the early days of the pandemic, Lam Sum’s tender drama pictures a city haunted by economic and political uncertainty. Storefronts are plastered with foreclosure and bankruptcy notices, while talk of moving abroad hovers amid everyday conversations. Plagued by faulty equipment, the one-man sanitary service operated by world-weary Chak (played by Cantopop star Louis Cheung) is on the verge of breaking down. When asked by his ailing mother if God is telling him to give up the business, Chak self-deprecatingly describes himself as a speck of dust, so tiny that even the deities would not take notice.

Reluctantly hired as an extra pair of helping hands on his cleaning rounds, single-mom Candy (Angela Yuen) enters Chak’s life like a whirlwind of chaos. With her impossibly sunny attitude and colourful fashion sense, Candy could have come off as a manic pixie archetype; Yuen instead manages to lend an emotional weight to the character’s capricious quirkiness. A particularly devastating sequence finds the pair scrubbing the human-shaped stain left by a nameless soul who has died alone in squalor, another speck of dust forgotten by the outside world.

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