In an unspecified dystopia, a tyrant rules with an iron fist. To maintain control over the people, he employs 'Dasdaran', dangerous, scythe-wielding warriors who obey his orders without question or qualm. But at last the day has come where a hero will rise from the masses to challenge the Dasdaran and free his people from subjugation and slavery. The only problem is that this hero is completely incompetent.
Ruben Östlund muses about his characters, “As soon as you get close to a person, you see them as just another human being”. It is widely recognized that aboard the luxury yacht in ‘Triangle of Sadness’, the different groups of people represent a small society as a commentary on classism and gender binaries.
The thing is, people like Wahlberg will only apologize if they have something to lose, which he did. His glamorous life, his reputation, and his career were all at stake.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
This coming-of-age Mexican movie is about a group of school children who fulfill their dreams.
