I was off to the Rex in Berkhamsted to see the Italian film La Grazia. It was written and directed by Paolo Sorrentino, whose earlier movie Parthenope I enjoyed. (See review of 15th May 2025). His new film stars long-time collaborator Toni Servillo as President Mariano De Santis, who is coming to the end of his presidency. An outstanding performance that won him best actor at the Venice Film Festival.
Here he's a top lawyer turned politician, and in his last days as president he has two main issues to resolve, both of which require him to grant pardons or not. As well as signing off an Act of Parliament on euthanasia. He is assisted in his office by his daughter Doratea, splendidly played by Anna Ferzetti, who has her own views. There is a masterful performance from Servillo, a little too downbeat, as though through it all is the ghost of his dead wife, and with whom did she have an affair? But the best scenes for me are those with an old friend, Coco.
John Bleasdale in April's Sight and Sound Magazine calls it the director's "most graceful film". Other critics were equally impressed.
Written and directed by Jim Jarmusch, Father Mother Sister Brother is made up of three separate stories. Set in three different countries, the locations are New Jersey, Dublin and Paris. There is absolutely no connection between the characters. Each one starts in a car; the first two have siblings on their way to visit a parent (they are not the easiest people, having lost their partner). The last two children lost both parents in an accident.
In Part 1, Adam Driver (the best that I have seen him) and Mayim Bialik find their way to the isolated cabin where their father lives, seemingly on the edge of poverty. Tom Waits was born to play the role of this scoundrel. His pleads of poverty include covering that expensive couch with an old rug and leaving out a load of clutter. Also forgetting to hide his expensive Rolex, which he then declares is a fake. Refusing to let his son see the repairs he paid for. Dressing in old clothes but changing after the children leave. They do not stay that long, but it's that final twist that upset me so much. In the car going home Adam Driver has a clue something isn't right. As Peter Bradshaw said in The Guardian, "Who are or were our parents?"
On an annual visit to their mother (Charlotte Rampling), one of the daughters in Part 2 (played by Vicki Krieps) never closes the gate, throws her coat anywhere, gets her mother to pay for a taxi and even opens a box of books without asking. Her sister (an unrecognisable Cate Blanchett) is the opposite, with awful short severe hair, terrible clothes and glasses. I did wonder if this was all put on for her mother. She has laid out a perfect tea, and we wonder if she ever wanted children. She cannot wait for them to leave, as do they. But are they all playing games? See they all have that red in their clothes.
Both parents are missing in Part 3. The brother and sister have a strong bond as they muse on their parent's tragic accident. But did they really know their parents, driving off to some isolated mountain? The siblings are driving through Paris to a lockup with their parents' few possessions. Those views through the car windows are spectacular. Critic Mark Kermode said it was "the least engaging" of the three. But I thought its relaxed feeling was far better and contrasted with the difficult atmosphere of the first two.
There are definitely connections between the three stories. There are always two children. Did they ever know their parents? Did they ever want children? All three start and end in a car. In every story someone says, "Bob's your uncle." In all three there are skateboarders. (Hmm). In the first two there is hardly anything said about what they are doing in their lives. In all three the children have lost at least one parent.
Previous films by director Jim Jarmusch include Only Lovers Left Alive and Broken Flowers. Both on DVD, which I can order sometime. His latest film made a big impression.
I just wish I could have avoided The Drama. It was just not my kind of film. It reminded me of all those TV shows that I purposefully do not watch. That is to say it's not poorly presented. The screenplay, the acting and direction are all fine. But somehow the story just did not add up. Robert Pattinson as Charlie seems a high-flyer at work, but he acts like a stupid child. Zendaya is more grounded but has a difficult background (not that you would have guessed as the person her father describes).
I was even less impressed with the shock of the McGuffin that haunts the whole movie. Or the unravelling of Charlie. The film is written and directed by Kristoffer Bogli. I didn't like his film Dream Scenario (see post 13th December 2023), so why did I not read that first? There is no review in my Sight and Sound magazine, so I should have known. One review said it was an "unsettling cringe film", and Mark Kermode said it was "excruciating". Both were quite right. I sometimes avoid reviews so I can go into a film without any knowledge. It didn't work this time. One final note. One of the cast was Alana Haim. I seem to see every film in which she appears.
























