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Previous Next November 19, 2025 WRITTEN BY: QUENTIN As we approach the end of 2025’s film festival season, I was able to squeeze in one more before the year ran out. For the first time ever, I was lucky enough to attend International FilmFestival Mannheim-Heidelberg (IFFMH). For those who don’t know, IFFMH began in 1952 and is the second-oldest film festival in Germany. It focuses on arthouse and auteur cinema from international newcomer directors and historically has served as a springboard for experimental filmmakers generally overlooked by Western audiences. Some filmmakers that have showed their early work at IFFMH include François Truffaut, Wim Wenders, Jim Jarmusch, Atom Egoyan, Thomas Vinterberg, and Derek Cianfrance. Actually, just check out their mission statement: The IFFMH celebrates innovation, as well as narrative and aesthetic courage. It stands for new experiences. The festival acts as a compass and a trend scout, discovering new talents and presenting visionaries, opening horizons and revitalizing the historical. The IFFMH creates a social experience context. As a mediator and networker of different cultural scenes, the IFFMH creates spaces for exchange between filmmakers and audiences. From an on-the-ground perspective, although it may not boast the brand recognition or mainstream titles of the more well-known film festivals, IFFMH’s lineup was impressive, nonetheless. It featured many of the smaller, international titles that won acclaim, if not actual hardware, at every other major festival, including Venice, Cannes, Berlin, Toronto and Sundance. So, yeah, it’s a great festival, especially for those seeking out new discoveries, and I look forward to covering IFFMH 75 next year. Also, special shout out to Public Relations Director, Rebecca Raab, who was the most responsive and helpful festival liaison I’ve ever had the pleasure of interacting with. She made it all so seamless, and most of all, stress-free. Due to scheduling conflicts, I was able to catch 18 movies this year, which, to me, feels like rookie numbers, but probably only in comparison to other festivals I’ve covered. Still, 18 movies while balancing my full-time day job and unreliable trains between Stuttgart and Mannheim is still pretty decent. Were the movies any good, though? I’m so glad you asked… 18. PETER HUJAR'S DAY Aside from the most dedicated Peter Hujar fans, if you even know who that is (I sure didn’t), I have no clue who Peter Hujar’s Day is for. I say this with no exaggeration, but this movie is literally 70 minutes of Hujar (Ben Whishaw) telling Linda Rosenkrantz (Rebecca Hall) about his day. Yes, it’s as banal and mundane as it sounds. There is so little substance here that it’s nearly impossible to review, other than to say that if you want to be a fly on the wall for a long, name-dropping conversation between two strangers, good news. Excellent 70s home-movie aesthetic, though. 17. TRAFFIC Traffic is, ostensibly, an art heist movie; however, if you go in expecting the fun hallmarks of the genre, you’ll be sorely disappointed. Technically, yes, there is a heist, but the movie isn’t about the heist. It’s about migrant labor, classism, perceived ethnic hierarchies, and the poor trying to rise above their station, all of which is presented with bleak realism (admittedly, that could just be Romanian cinema’s vibe). While the themes are easily digestible, they didn’t resonate with my American brain, nor did the underdeveloped characters. Plus, the heist and subsequent manhunt fall flat. Perhaps this is an example of being lost in translation, though. 16. MOTHER As I understand it, Mother is a fictional tale about Mother Teresa (Noomi Rapace) in the days before she leaves her convent to establish Missionaries of Charity. The thing is… if it’s fictional, who cares? Isn’t there a worthy true story to provide insight into the modern-day saint? On top of that, it jumps between dry character study and horror-tinged moments backed by heavy metal music, which is a jarringly odd combination. So, in the end, we’re left with a fanfic biopic that generally suggests nothing more than Mother Teresa was more complex than the infallible icon we picture in our heads? Cool story, I guess. 15. THE SUMMER BOOK Growing up, I often spent summers in the Kentucky countryside with my great-grandmother, who did not have a television or many modern conveniences to keep a child entertained. The Summer Book took me back to those days, which made for a nostalgic trip down memory lane, but not so much an entertaining movie-viewing experience. There is an old-fashioned stillness in the relationship between Grandmother (Glenn Close) and Sophia (Emily Matthews) that I generally relate to, and the Finnish coastal countryside is beautifully shot. However, much like my pre-adolescent self during those summers, I was left waiting for something — anything! — to break the monotony. 14. THE THINGS YOU KILL I’ve never been a big fan of director David Lynch, so when things are described as Lynchian, it’s not exactly a selling point. Furthermore, Lynchian surrealism is hard enough to understand in English, so watching it through subtitles can make it doubly confusing. The Things You Kill is exactly that — an extremely slow, very Lynchian tale about a man dealing with generational inner darkness and feelings of inadequacy in a patriarchal society. It’s the type of movie whose meaning I needed to clarify after the fact, and honestly, the explanation I found on Google was far more interesting than the actual movie I had just watched. This review originally posted with Bitesize Breakdown’s coverage of Fantasy Filmfest 39. 13. REEDLAND From a craft perspective, Reedland does enough excellent things that I’m curious to see what director Sven Bresser does next. Despite being his debut, the cinematography, sound design, and performance pulled from non-actor and actual reed farmer Gerrit Knobbe demonstrate an incredible amount of skill and a well-assembled crew behind the camera. However, Bresser also wrote Reedland , and while it’s steeped in dread and foreboding atmosphere, I genuinely have no idea what it’s about. Random MacGuffins that lead to nowhere populate the story — a dead girl, black goo, a random rock, a threatening tractor — ultimately resulting in a movie that feels like a narrative Winchester House. 12. BLUE HERON I can’t say Blue Heron is a bad movie; I can say, for better or worse, it is extremely reminiscent of Aftersun , a movie whose critical acclaim I never understood. It’s not that I don’t get writer-director Sophy Romvari’s intent as she explores her fractured memory and hinted-at trauma, but the slow pacing and jarring shift to a pseudo-documentary make it all too clinical. I was never invested in Sasha’s experience as an oblivious child (Eylul Guven) or as an answer-seeking adult (Amy Zimmer). I genuinely hope Blue Heron helped Romvari process whatever she needed to process, but this therapy session doesn’t need an audience. 11. MILE END KICKS I’m learning that most coming-of-age movies aren’t for me anymore. Whether that’s because I’m too far removed from my own experiences, or I simply don’t relate to those of younger generations, I’m not always sure. With Mile End Kicks, it’s definitely the latter. My memories of being young, dumb, and in love (or lust) as an American guy whose 20s started in 2001 simply don’t mirror those of a Canadian girl whose 20s seem to start around 2011. I’m too separated from Grace (a terrific Barbie Ferreira) for this story to resonate, which mostly just left me frustrated by her bad decisions (the closing scene, especially). 10. LIFEHACK The latest “screenlife” offering, a filmmaking approach I’m not sold on yet, LifeHack is excellent for the 30 minutes when the crypto heist takes place. These moments are surprisingly full of anxiety-inducing tension and white-knuckle suspense. Everything that comes before and after? Not so much. The format is far too manic and moves far too quickly for the viewer to ever settle in. It also doesn’t allow for great character development, so it’s hard to be super invested in any of them (particularly when they’re as annoying as Sid (Roman Hayeck-Green)). That said, it definitely makes one think about their online presence. It’s scary out there. 9. RENTAL FAMILY Given these turbulent times, if you need a source — any source — of optimistic, heartwarming feels, Rental Family will almost certainly deliver. Granted, those feels are incredibly shallow and extremely superficial since the characters are mostly just pawns to get you to the next saccharine story beat, but good feels are good feels. Unfortunately, the narrative doesn’t have much lasting heft behind it either because Brendan Fraser is somewhat miscast, with his ever-present teddy bear persona never allowing for a full character arc. Still, you could do worse than Rental Family , even if this cynic found it to be a little too sentimental. This review originally posted with Bitesize Breakdown’s coverage of Zurich Film Festival 2025. 8. NOVIEMBRE When making a dramatized account of a historical event, you need to ensure the audience has at least barebones awareness of the event. Noviembre assumes everyone is familiar with 1985’s Palace of Justice siege by dropping viewers directly into the situation with very little context. It’s unclear if the guerillas are radical terrorists or revolutionaries fighting a corrupt system, which makes it tough to know whose side the viewer should be on (made worse by minimal character development). That said, the Paul Greengrass-inspired direction provides gritty realism and chaotic tension, but there wasn’t enough for me, an unfamiliar, to grasp on to. I needed a pre-brief. 7. KIKA Although not exactly what I expected, Kika (also known as Madame Kika ) is an effective exploration of the things we must do to survive, both financially and emotionally, in the wake of tragedy. I wouldn’t necessarily call it a comedy, but there is certainly more humor than I anticipated as it faithfully shows the awkwardness that can come with true self-discovery, especially as one enters a socially taboo alternative lifestyle. Much like Pillion , Kika is not here to kink shame or judge the dom/sub dynamic, instead offering a disarming and contemplative portrait of a person reckoning with grief on her own terms. 6. LEMONADE BLESSING Remember what I said above about coming-of-age movies? I’m about to contradict it. Lemonade Blessing does a terrific job of putting viewers in the headspace of a religious high school student experiencing first love while internalizing a devout parent’s messaging that all perfectly natural hormonal urges lead to eternal damnation. Grounded yet teetering near the absurd, every aspect of the story feels rooted in realism, from the male friendships to the overbearing parents to just wanting to fit in. At times, it’s compassionately uncomfortable, giving off strong Eighth Grade vibes. So, yeah… most coming-of-age movies aren’t for me anymore; Lemonade Blessing was an exception. 5. FOLLIES Although it doesn’t break any new ground with its premise, Follies is a humorous, at times sad, yet ultimately uplifting exploration of a married couple trying to spice things up by opening their marriage. However, the approach and details add a fresh spin. Shooting with handheld 16mm cameras, using natural light, and deploying an almost mumblecore vibe keeps everything intimate, which means it never feels over-sexualized like some movies like this can be. Furthering that are the small, lived-in details, like the interactions with their children and relatable situations where they each want to ensure they are correctly following the “rules.” It’s all very authentically charming. 4. THE THREESOME Given The Threesome ’s absurd premise, it could have been an over-the-top, jokey comedy like Wedding Crashers . Instead, director Chad Hartigan goes the route of grounded maturity as it explores the different experiences women can have with unexpected pregnancy. Zoey Deutch and Ruby Cruz give layered performances as women facing same-but-different circumstances, with the movie being thoroughly theirs even as we experience it through Connor’s (Jonah Hauer-King) point-of-view. Unfortunately, Connor is presented as such a blandly milquetoast nice guy, which is more the script’s fault than Hauer-King’s, that it brings the rest of the movie down a bit. Still, it’s an overall endearing take on modern romance. 3. ROOFMAN Roofman is a charming love story featuring charming performances that surely will charm a non-discerning couple on date night. No, it’s not particularly memorable, but it’s a highly rewatchable blend of comedy, heart, and 90s nostalgia. Yet, I was left wondering why I was rooting for this dirtbag. Because he’s polite? All of Jeffrey Manchester’s (Channing Tatum) rough edges have been sanded down to create an almost algorithm-generated leading man that ladies may fawn over. That’s fine, I suppose, but it makes for an overly sugarcoated, crowd-pleasing movie seemingly afraid to explore the more complicated themes present in fear of losing general audiences (and box office revenue). This review originally posted with Bitesize Breakdown’s coverage of Zurich Film Festival 2025. 2. THE LAST VIKING I’m not sure why, but it seems the world takes Mads Mikkelsen’s acting talent for granted. In The Last Viking, he gives a hilarious, against-type performance (relative to everything I’ve seen him do, at least) that is sweet, silly, and lovable. He, alone, is worth the price of admission. His brilliance aside, director Anders Thomas Jensen has successfully mixed Rain Main, The Dream Team, and The Coen Bros. to create a movie that is as moving as it is violent. On paper, I’m not sure any of it should work, but it all comes together beautifully as something heartfelt, sincere, and darkly entertaining. This review originally posted with Bitesize Breakdown’s coverage of Zurich Film Festival 2025. 1. IT WAS JUST AN ACCIDENT Tonally, It Was Just an Accident is unexpected. Generally speaking, it has tension without being tense and humor without being funny, but director Jafar Panahi’s ability to walk that tightrope is a major reason why the film works as well as it does. Make no mistake, the commentary on authoritarianism, which is as applicable to the Iranian regime as it is to current American politics, is morally complex and thought-provoking as it explores the cycle of revenge and violence between oppressors and the oppressed. But that tonal balance keeps it accessible by not letting it slip too far into darkness. It was a worthy Palme d’Or winner.

Bitesize Breakdown features film & series reviews, interviews, rankings, and more from a diverse, global collective of entertainment writers! NEW REVIEWS FILMS SERIES SPOTLIGHT READ WATCH READ READ

Bitesize Breakdown features film & series reviews, interviews, rankings, and more from a diverse, global collective of entertainment writers! NEW REVIEWS FILMS TV SPOTLIGHT READ READ READ

Editorials on a wide array of subjects that take a deeper dive into the films & series we love. FEATURES READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ

HE WENT THAT WAY Starring: Jacob Elordi and Zachary Quinto Director: Jeffrey Darling PAIGE Based on a true story, He Went That Way is a chic thriller set in the 1960s that has an interesting premise and strong start that gradually loses steam as it goes on. In addition, the script is so subpar that the only thing really keeping this film somewhat together are its leads, Jacob Elordi, Zachary Quinto, and the fake monkey, Spanky, trying their best to deliver decent performances. With that said, the movie never quite turns into the dark thriller that it was intended to be. In the end, the movie falls flat in delivering its captivating true narrative and becomes a dull road trip. CALEB He Went That Way is a colossal waste of time. I know that Jacob Elordi and Zachary Quinto are talented actors, but they’re both genuinely embarrassing in this. Someone must’ve called in some favors because this script should be way below either of their pay grades. The dialogue is atrocious, the characters are annoying as hell, and the pace is painfully slow. The film is decently shot, but that’s about the only praise I can give it. I guess the silly fake monkey was worth a laugh too, but I’m not sure I’d call that a positive.

ATLAS Starring: Jennifer Lopez, Simu Liu, Sterling K. Brown, Mark Strong, and Abraham Popoola Director: Brad Peyton CALEB Atlas is as generic as sci-fi movies come, and its bland, underdeveloped world is brought to life with some of the ugliest CGI I’ve ever witnessed. The action sequences look like weightless video game cutscenes, and the green screen utilisation is comedically terrible. For what it’s worth, Jennifer Lopez does a decent job, even if far too much of the movie revolves around her screaming from the inside of a mech’s cockpit. I know Atlas is a film about embracing A.I., but something tells me the screenwriters may have embraced it a little too much. QUENTIN Even with the lowest of expectations, Atlas is a complete failure. You’re essentially watching Jennifer Lopez Facetime with an A.I. system amongst a collection of terribly rendered CGI visuals. And when I say “terribly rendered” — man, are they bad. They are the kind of super glossy and plastic-y looking cutscenes you would find in the cheapest of early 2000s video games. That aside, the story (such as it is), is a hodge-podge of other, better sci-fi movies, including The Terminator , Aliens , and Pacific Rim . Hopefully, this puts the nail in the “apocalyptic A.I.” genre’s coffin for a while.

PAST LIVES Starring: Greta Lee, Teo Yoo and John Magaro Director: Celine Song ADRIANO Past Lives made my jaw drop. This is a story about how we approach fate and the way human beings seek connection to one another, and it’s told through a very unique love triangle, with Teo Yoo and Greta Lee giving compelling performances. But it’s writer/director Celine Song that’s the real star, as she knocks it completely out of the park. She directs every scene with a deft hand and writes every scene with poignancy, comedy, and in the end, bittersweet heartbreak. I don’t say this often, but this was a perfect film. JACOB Truth be told, it’s difficult to define in precise terms what I feel about Celine Song’s Past Lives in the immediacy of its conclusion, but one thing about my feeling is certain: it is profound and inescapable. The pitch-perfect screenplay from debut writer/director Song is a ballet of longing – for a life one once knew, for the life one could have – and a delicate reckoning with what is. Greta Lee owns every minute of screentime she has, inviting your attention without demanding it, while Teo Yoo and John Magaro shine in their supporting parts. This one is a real knockout. PAIGE A24 may have another Best Picture winner on their hands with writer/director Celine Song’s phenomenal debut, Past Lives , a deeply impactful film that knows how to pull at your heart strings. The screenplay will give you a lot to ponder over, but it's the soulful and layered performances that will stick with you, especially Greta Lee as Nora. Furthermore, the film is a very subtle but thoughtful piece about the influence of soulmates and the "what ifs?" of life, something we can all relate to. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival.

GUARDIANS OF THE GALAXY VOL. 3 Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Karen Gillan, Pom Klementieff, Vin Diesel, Bradley Cooper, Sean Gunn, Chukwudi Iwuji, Will Poulter, Elizabeth Debicki, Maria Bakalova, and Sylvester Stallone Director: James Gunn NICK Guardians of the Galaxy Vol. 3 made me laugh, cry, then laugh again, and it features an exhilarating opening action sequence. This film had my heart. My mind, however, is a little less forgiving. The film relies heavily on Rocket (Sean Gunn/Bradley Cooper) flashbacks, which would have worked better as a prologue than being interspersed throughout, and as much as I enjoyed the opening scene, Adam Warlock (Will Poulter) isn’t needed, nor does he leave a lasting impression. Still, the trademarks are here, and it’s a fitting end to the trilogy, but not without some bumps along the way. That said, bring tissues. ADRIANO Guardians Of The Galaxy Vol. 3 had a lot of heavy lifting to do, not just as a send off for the title misfits, but as a lifeline for a post-Endgame MCU; I’m delighted to say that it succeeds. Writer/director James Gunn proves he’s the perfect comic book director, not afraid to get silly while never losing sight of the characters, and he gives the team a fun adventure to go with their proper and beautiful finale. It’s a visual spectacle that, while not always structurally sound, features the MCU’s heaviest and most heartfelt moments. I’ll really miss these characters. QUENTIN Though not flawless, Guardians of the Galaxy Vol. 3 works well enough to rank amongst the best post-Endgame MCU offerings. Everything you love about the Guardians franchise is here, but it’s overlong to the point that I felt the dreaded “superhero fatigue” mid-movie, Adam Warlock (Will Poulter) is completely wasted (he’s on screen for maybe 15 minutes), and the music feels shoehorned in at times even if the song themselves are fantastic. Still, it’s better than Vol. 2 , but not as good as Vol. 1 ; however, the gap between Vol. 3 and Vol. 2 is closer than the gap between Vol. 3 and Vol. 1 . DARRYL The concluding volume of what has been a mostly solid trilogy ends the only way it could: with plenty of heart and humor. Writer/director James Gunn manages to expertly close multiple narrative arcs while still delivering plenty of laughs along the way. Eschewing a sappy Hollywood ending for the series, the story instead provides a more realistic approach that feels true for each character, showing once again that Gunn is intimately familiar with them. A mix between great action and an incredibly dour plot (not to mention the MCU's best villain in years), Vol. 3 is emotionally taxing but ultimately satisfying. PAIGE O-O-H Child, Guardians of the Galaxy Vol. 3 is filled to the brim with James Gunn trademarks. This series has to be the wackiest and most heartfelt MCU franchise ever…it’s certainly my favorite…but like its characters, this flick is a little bit of a mess. Don’t get me wrong, it’s certainly a fun and lovable mess, but a mess nonetheless. Honestly, its strongest attributes are the emotional beats throughout the film, and while overall I’m a big GOTG fan, I walked away with some mixed feelings. While you’ll surely laugh and smile, you’ll most likely ball your eyes out too, like I did. So, fair warning: bring tissues. AMARÚ From the first scene, director James Gunn goes for straight gut-punches in Volume 3 . Emotion is the heart of this finale, and while Volume 1 necessitated set-up and Volume 2 leaned too heavily on comedy, this trilogy capper excellently balances everything that makes Guardians great. The action, humor, music, and ensemble are all pitch perfect, but its biggest strength is the realization of each team member’s best version, with Rocket (Sean Gunn/Bradley Cooper) leading Drax (Dave Bautista), Mantis (Pom Klementieff), and Nebula (Karen Gillan) as standouts. Everything you’ve ever wanted this franchise to be is beautifully fulfilled in this kinda perfect finale. JACOB While the final film in James Gunn’s charmingly off-beat Guardians of the Galaxy trilogy certainly succeeds in what it sets out to do, calling it anything more than “very good” would feel hyperbolic. Many things about it work, such as the emotional core of the film, the high-tone villain performance from Chukwudi Iwuji, and – expectedly – the killer soundtrack. That said, the structure of the film does occasionally work against the flow of the story, and there are a few moments where the humor doesn’t land quite right. Still, it’s a fun time, and a fitting end to Gunn’s MCU days.

MARRY ME Starring: Jennifer Lopez, Owen Wilson, Maluma, John Bradley, Chloe Coleman, and Sarah Silverman Director: Kat Coiro ADRIANO Marry Me is definitely not the worst rom-com starring Jennifer Lopez that I’ve seen. Actually, Lopez and Owen Wilson do a stellar job. The chemistry they have with each other genuinely made me smile. Unfortunately, the movie crumbles under a lot of bad rom-com trappings. It’s absurdly predictable, and everything that I thought would happen happened exactly as I thought it would. Maybe I could forgive that if it was funny, but for the life of me, I can’t remember a single time I laughed. I didn’t despise this movie, but I definitely didn’t enjoy it. JOSEPH Wow, I was so pleasantly surprised with Marry Me . Going in, it seems like it’s going to be a sort of generic and predictable film, and in many ways it is, but there’s something fresh about it. Don’t get me wrong, the film is still tropey and a little dumb at times, but it’s just pure joy to watch. There’s a surprising level of chemistry between Owen Wilson and Jennifer Lopez, while Sarah Silverman offers some good humor. Marry Me is a smile-inducing, fun time.

A DIFFERENT MAN Starring: Sebastian Stan, Renate Reinsve, and Adam Pearson Director: Aaron Schimberg QUENTIN A Different Man is the type of not-great oddball movie that A24 Stans will champion anyway just because it’s from A24. Granted, it has a lot on its mind, asking thought-provoking questions about beauty, vanity, and self-esteem. It also features strong performances, particularly from Adam Pearson. However, the characters, especially Sebastian Stan’s Edward, make too many questionable decisions, which ultimately results in a very frustrating viewing experience. On top of that, it’s a bit of a slog, and the ending provides no catharsis or satisfaction. I appreciate what writer-director Aaron Schimberg wants to do, but he doesn’t do it well enough to make the movie recommendable. ADRIANO Even with the obvious narrative issues, especially with its unclear final 5 minutes, there's something so fascinating about A Different Man . The darkly comedic surrealist thriller tone helped keep my interest piqued for the entire movie, alongside an incredible performance from Sebastian Stan. Beyond that, the movie's self-image story could've easily just stuck to a basic "it's what's on the inside that counts" message, but I was really into how it decided to go beyond that, showing what a blunted self-image can do to someone. As weird and unsure of itself as it can be at times, I admired most of A Different Man . NICK A Different Man is an interesting case study. It's a film that doesn't shy away from taking risks, and it features some very good performances, which usually bodes well for me. Not so much here, though. The film feels as if it is split into two parts, with neither being given the time to establish itself. Meanwhile, the tone of everything is as if it's constantly in flux. It all just feels a little disconnected, which is a shame because both Sebastian Stan and Adam Pearson came to play. Too bad A Different Man doesn't do what it needs to do to provide them a worthy playground. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasy Filmfest.

LOVELY, DARK, AND DEEP Starring: Georgina Campbell, Nick Blood, and Wai Ching Ho Director: Teresa Sutherland This film has been reviewed by Nick, Paige, and Quentin as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN To its credit, Lovely, Dark, and Deep is beautifully shot. The use of light and darkness to build tension and highlight the unknown of back-country wilderness at night is tremendous, not to mention some terrifically unsettling drone shots of the mountainous landscapes. That said, despite a psychological thriller tone and sense of dread that work completely, the actual story is flimsy. This is superficial horror built on imagery and vibe alone, and by the time everything is hurriedly explained in a short exposition dump at the end, nothing really resonates. Plus, every time English-actor-doing-an-American-accent Georgina Campbell says “park ranger?” Nails on a chalkboard. NICK Lovely, Dark, and Deep was one of my most anticipated films at this year's Fantasia Fest (see HERE ), so that likely factored into how disappointed I was with it. First, the good… it features some beautiful scenic shots and haunting imagery. Unfortunately, that’s about it, and without a cohesive story to display those aspects, they fall rather flat themselves. Georgina Campbell is fine, but does nothing to overcome the script, while the hurried resolution at the end is far too little and far too late to make up for the rest. Here's hoping for a better sophomore effort from director Teresa Sutherland. PAIGE Lovely, Dark, and Deep certainly isn’t a picnic in the park, as the film captures the atmospheric mysteries of venturing alone and getting lost in the forest. With eerie soundscapes and disturbing imagery, aka a shit ton of swirling treetop shots, the film displays promising work from first time director Teresa Sutherland. That said, the second half of the film goes off-trail a bit with its maddening and aimless direction, but at least Georgina Campbell gives a terrific performance throughout.

HARD TRUTHS Starring: Marianne Jean-Baptiste, Michele Austin, David Webber, Tuwaine Barrett, Ani Nelson, Sophia Brown, and Jonathan Livingstone Director: Mike Leigh ADRIANO I've been awaiting the next film from writer/director Mike Leigh, and while Hard Truths doesn't quite reach the heights of his best, it's still a great outing from the filmmaker. Marianne Jean-Baptiste is a force of nature here, especially in the first half, when she performs Leigh's ruthless dialogue with a natural ferocity that made me laugh a lot. The second half dives deep into the darkness that plagues the lead and her family with some unsettling realizations and heartbreaking facts. The ending will leave many unsatisfied with its ambiguity, myself included, but I was really into Hard Truths , overall. AMARÚ Life can truly be weird. Two people can experience the same circumstances, yet have two completely different outlooks on life. Director Mike Leigh’s Hard Truths is a tense look at the misery and joy people choose to carry with them. Marianne Jean-Baptiste is a force of fury that raised my stress levels to all-time highs, but her interactions with her life-affirming sister and two nieces (Michelle Austin, Sophia Brown, and Ani Nelson) poignantly make you ponder how you regard yourself and your relationships. Hard Truths is a bit overbearing without any true destination, but its performances provide genuine introspection and depth. PAIGE The truth about Hard Truths is that writer/director Mike Leigh gets the most out of his actors, particularly Marianne Jean-Baptiste, who excels in her portrayal of Pansy. She is able to masterfully express unfiltered sadness, frustration, and depression through the discourse. However, although this character-driven drama of generational anguish and rage is aided by the film's slice-of-life narrative approach rather than a structured premise, it doesn't have the necessary character layers for the audience to relate on a deeper level. KATIE Through the juxtaposition of two sisters’ lives, Mike Leigh’s Hard Truths presents a heartbreaking portrait of what clinical depression can look like as it seeps into every aspect of one's life, yet not without flashes of the director’s darkly comedic wit. Marianne Jean-Baptiste’s performance as Pansy is simply ferocious. She spits venom at those closest to her and seethes with unforgiving misery and an unabating sense of agitation, but also a heartbreaking awareness that she is struggling deeply and has been for a long time. The film doesn’t provide a satisfying resolution, but the stellar performances speak for themselves. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.