`Close,' `To Leslie' are bathed in brilliance
Also: `Baby Ruby' is a top-notch horror flick
A shattering portrait of a childhood friendship that's ripped apart, an elevated horror movie about motherhood and a few other gems highlight our best bets this week.
“CLOSE” >> The tender summertime connection between two 13-yearold Belgian boys withers and dies once Leo (Eden Dambrine) and Remi (Gustav De Waele) return to school, where their bond is viewed with fear and scorn and they're greeted with homophobic slurs.
Director Lukas Dhont's lovely autumnal lament on an innocence destroyed aches not only with pain and guilt but compassion and acceptance. Dhont doesn't make anyone a villain, plumbing the trajectory of grief as it leaves its targets with unresolved feelings that they work on at first alone and then together.
From first frame to last, “Close” displays a poetic grace in showing a severing of innocence and a need to heal from an agonizing loss. It features world-wise performances from its cast, a haunting score from composer Valentin Hadjadj and breathtaking cinematography from Malte Rosenfeld. It's a treasure you'll never forget. DETAILS >> ★★★★ out of 4; in select theaters Friday.
“TO LESLIE” >> A sad truism about the Academy Awards and movie awards in general is that many deserving films and performances simply get skipped over. The ones that tend to jump to the forefront come backed with ads, screeners and dollars, much along the lines of political campaigns. A deserving acting turn that's turned into a cause celebre for Cate Blanchett, Kate Winslet and many others is Andrea Riseborough's phenomenal performance in this indie.
Riseborough deserves the shower of praise for her stellar work in Michael Morris' gritty but hopeful drama about an alcoholic, homeless West Texas mom (Riseborough) who once won the lottery and is now upending everyone's life around her, including her hardworking 19-year-old son (Owen Teague), a former chum (Allison Janney) and two motel owners (Marc Maron and Andre Royo) who offer her a job despite her unreliable actions. Riseborough makes every glance and gesture reveal what her character is wrangling with. It's such a naturalistic performance it feels like you're watching a real person in a documentary.
Riseborough was nominated for a best actress Oscar but now the academy says it is reviewing the nod because it seemed to come out of left field (few people have seen the film yet) and there are concerns among some that it was the result of a promotional campaign rather than the performance. But many are backing Riseborough, and while her stunning performance does anchor “To Leslie,” the film itself is a thoughtful indie that doesn't wallow in despair as it gives us a downtrodden character who's used up her second, third and even fourth chances yet still deserves another a shot of redemption. In a sea of downer films, “To Leslie's” message resembles a bright light beckoning us to calmer shores ahead.
DETAILS >> ★★★★ available to rent on multiple platforms.
“BABY RUBY” >> While comparisons will be aptly made to Roman Polanski's classic maternal horror story “Rosemary's Baby,” playwright turned director and screenwriter Bess Wohl's shattering debut is its own entity, a reflection on how motherhood can indeed be a nightmare.
Noémie Merlant (“Portrait of Lady on Fire”) plays successful vlogger Jo, whose social media-perfect existence with hunky hubby Spencer (Kit Harington of “Game of Thrones”) gets thrown out of whack upon the arrival of their first, very vocal and proneto-biting child. Sleepless nights distort the couple's views of what is real and what is delusional as Jo descends into a madness that includes seeing other mothers as akin to a stream of “Stepford Wives” clones frolicking with their perfect babies. “Baby Ruby” employs a shaky narrative to deliver a rattling good commentary about every parent's nightmare. DETAILS >> ★★★ now in select theaters.
“MURDER IN BIG HORN” >> Fresh off its debut at the Sundance Film Festival comes this threepart series on the alarming number of disappearances of Indigenous teens and women in rural swaths of Montana. It's both shocking and maddening, with directors Razelle Benally and Matthew Galkin stripping back the many factors that contribute to these unsolved deaths, from police inaction to the disgraceful ways Native Americans have been treated throughout history. It's a well-made series that exposes corruption, trafficking and injustices perpetrated on families. DETAILS >> ★*★*★*; airs Friday on Showtime.
“THE OFFERING” >> The horror genre has been on a lucky streak of late, with newbie filmmakers hitting home runs in their first at bat. Count Oliver Park among the sluggers, thanks to this dandy of a demonic chiller set in a familyrun Hasidic mortuary. An ulterior motive drives son Arthur (Nick Blood) to stop in with his pregnant wife (Emily Wiseman) for an eventful visit with his estranged funeral director papa (Allan Corduner). The disappearance of a young child, some curious deaths and a Eastern European mythological demon lead up to a grand, bloody showdown.
Park cranks up both the mood and the fear factor for a devilishly good supernatural thriller, one that promises even better things ahead from the talented director.
DETAILS >> ★★★ available to rent online.
“PRIVATE DESERT” >> Patience gets rewarded in Brazilian director and co-writer Aly Muritiba's sensual slow-burner about an internet relationship that takes a surprising turn. The strategic pacing of “Private Desert” builds the tension to allow Muritiba and coscreenwriter Henrique dos Santos to explore thought-provoking issues about gender, sexual attraction and machismo. All of that's seen thorough the prism of a long-distance relationship between disgraced police academy instructor Daniel (a searing Antonio Saboia) and Sara (Pedro Fasanaro, a newcomer to watch), who is spurned by his family and lives with grandma.
Sara/Robson is a gender-fluid small-town resident who lives nearly 1,900 miles away from Daniel. The first half of “Desert” focuses on Daniel's pursuit to meet up with Sara for the first time in person. The second half finds both protagonists confronted with societal/cultural expectations that prevent them from leading fully vibrant lives.
It's a film filled with ache and passion, but like “To Leslie,” it offers hope rather than unending despair. The cinematography is stunning. No wonder Brazil tapped it as its 2021 Oscar submission for best international feature. (It did not make the shortlist.)
DETAILS >> ★★★★ available to rent on various platforms.