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1923: SEASON ONE Starring: Helen Mirren, Harrison Ford, Brandon Sklenar, Julia Schlaepfer, Jerome Flynn, Darren Mann, Brian Geraghty, Aminah Nieves, Michelle Randolph, Isabel May, and Timothy Dalton Creator: Taylor Sheridan QUENTIN I’m probably starting to sound like a broken record when I review Taylor Sheridan’s shows since they all have the same problem, most notably that they are overstuffed and underdeveloped, which means the viewer never gets truly invested in most of the storylines. Sadly, 1923 is Sheridan’s worst offender. Aside from the engaging Spencer Dutton (Brandon Sklenar) arc, the rest of the show is filled with virtually nameless Duttons doing random cowboy things. Even Helen Mirren and especially Harrison Ford are underused despite being the advertised stars of the show. Still, this could be a good show with better focus; hopefully, they find it next season.

LUPIN: PART THREE Starring: Omar Sy, Ludivine Sagnier, Soufiane Guerrab, Shirine Boutella, and Etan Simon Creators: George Kay and François Uzan AMARÚ When Omar Sy’s Assane Diop drips cool from his every pore, a show like Lupin is hard not to enjoy. Part Three feels somewhat like a soft reboot, but by being a longer “season,” the extra episodes create the time needed to connect to the new storylines. Delving deeper in Assane’s life allows Sy to drive the show’s kinetic energy past any trope-filled flaws it contains. He is such a charming action star that you care about every relationship, root for every con, and follow every twist (even the predictable ones) through this consistently entertaining show. QUENTIN After two years, Netflix’s Lupin is back with the same breezy caper energy and gentlemanly James Bond-esque vibe as before. However, while the series is still enjoyable, one can feel the bloat as the episode count increases from five episodes to seven. Plus, it relies a little too much on the standard heist movie trope of doubling back on itself to show how things came to be, which can halt the narrative momentum. These are minor complaints, though, and the cliffhanger twist ending leaves me looking forward to Part Four (even if I needed to refresh my memory of Part Two to fully understand it).

SERVANT: SEASON THREE Starring: Lauren Ambrose, Toby Kebbell, Nell Tiger Free, and Rupert Grint Creator: Tony Basgallop QUENTIN In its third season, Servant frustratingly refuses to provide any answers regarding the mysteries it has set up. It’s such a slow burn filled with repetitive plot points that it often feels like the story isn’t moving forward, which makes me nervous that it won’t stick the landing next season (the series’ final season). However, to its credit, the performances are solid, while the sinister, tension-filled atmosphere that was missing in season two has returned. But, even at its best, Servant is tone over narrative, which can make watching it feel like a chore. Let’s hope next season’s (series) finale makes it worth the effort.

SECRET INVASION Starring: Samuel L. Jackson, Ben Mendelsohn, Emilia Clarke, Olivia Colman, Charlayne Woodard, Don Cheadle, and Kingsley Ben-Adir Creator: Kyle Bradstreet AMARÚ The MCU could have benefited from Secret Invasion ’s grounded tone about three years ago… as a movie. Finally getting to know Nick Fury (Samuel L. Jackson) through a stunning post-blip examination, propelled by actors ACTING their asses off, generates an intensely thrilling first four episodes. Kingsley Ben-Adir is ferociously intimidating, Jackson’s dynamic with Ben Mendelsohn and Charlayne Woodard is organically brilliant, and Olivia Colman and Don Cheadle are deliciously mischievous. But the 6-episode structure continues to be this medium’s downfall, dampening the early successes with a rushed, uninspired, and disappointing ending to what was initially becoming the MCU’s best Disney+ series. QUENTIN Guys, I think it might have finally happened: I may have contracted the dreaded Marvel Fatigue. I say that because, terrible finale aside, I can’t point to one explicitly “bad” thing about Secret Invasion . It’s all, at best, very serviceable, from the action to the acting. However, I just could not bring myself to care about any of it. Maybe it’s because it builds on characters from Captain Marvel (one of my least favorite MCU movies), or maybe it’s just a boring, superficial take on a popular story that deserved much, much more. Either way, this is one of the least engaging MCU shows yet. ADRIANO I did not like Secret Invasion . I don’t think it’s Marvel Fatigue talking either; I just think this show is bad. The cast does a good job, namely Samuel L. Jackson in the best portrayal of Nick Fury in the MCU, and there is some intrigue hidden in there somewhere, but not enough to hold my attention beyond the Fury of it all. Instead, what we get are stakes that I never felt, uninteresting writing, and to be blunt, an embarrassing final episode. I wanted to like Secret Invasion , but I simply didn’t have much reason to. PAIGE Secret Invasion proves once again that Marvel Czar Kevin Feige is stretched way too thin. With such a subpar script, this show felt like it didn’t warrant a series at all. It’s ultimately unfortunate because Secret Invasion is filled with a stacked cast, from Samuel L. Jackson (Nick Fury) to Olivia Colman (Sonya Falsworth), who deliver the best performances they possibly can despite dealing with this weak story. With the miniseries overall being mediocre, it admittedly ended with some big ideas that could come to fruition in future MCU projects. JACOB Were it not for its connection to the wider MCU, Secret Invasion would be a fine – if mostly disposable – limited series. Unfortunately, that connection is simultaneously its most alluring element and the thing that ultimately undoes it all. It begins interestingly enough, with Kingsley Ben-Adir’s Gravik seeming a good foil for Nick Fury’s (Samuel L. Jackson) inaction vis-à-vis the Skrulls, but the writing quickly turns him into a caricature, along with most other characters. In fact, the only performer having any fun seems to be Olivia Colman. And it all comes with newfound continuity errors that cheapen previous MCU growth. What a mess.

Previous December 31, 2024 Next A BITESIZE CHAT WITH JONATHAN MEDINA Actor Jonathan Medina (The Purge, The Terminal List, Fear the Walking Dead) joins Amarú to talk about his newest role as Uncle Jay in Amazon Freevee's Primo, the hopes for a 2nd season, and his unabashed love for Doctor Who. Make sure to check out Primo: Season One now on Amazon Freevee. Interview conducted on June 8th, 2023 by Amarú Moses. Photo Credits: Banner - Jonny Marlow; Photo 1 - Amazon Studios; Photo 2 - AMC

THE WALKING DEAD: DARYL DIXON: SEASON ONE Starring: Norman Reedus, Clémence Poésy, Louis Puech Scigliuzzi, Anne Charrier, Adam Nagaitis, Laïka Blanc-Francard, and Romain Levi Creator: David Zabel NICK If AMC wants to continue doing The Walking Dead spin-offs, they need to find ways to stand alone. Daryl Dixon does that. It looks different, it sounds different (half of the series is in French, and the English features a realistic amount of swearing for a zombie apocalypse), and it finally expands on the idea of the variant walkers introduced in World Beyond . I was skeptical of Norman Reedus’ Daryl Dixon as a series lead, but this endeavor actually provides some of the best work Reedus has done as the character in quite some time. Bring on The Book of Carol.

THE ACOLYTE Starring: Amandla Stenberg, Dafne Keen, Lee Jung-jae, Carrie-Anne Moss, Manny Jacinto, and Charlie Barnett Creator: Leslye Headland AMARÚ Manny Jacinto does a helluva job in The Acolyte ’s fifth episode, becoming one of the most interesting new Star Wars characters in recent memory. However, he isn’t enough to make the latter half of the season any more compelling than the first half. The other actors are fine, and a story centered around the Jedi possibly being the galaxy’s resident “Karens” is an intriguing premise, as evidenced by a fairly decent finale; by that time, though, I already didn’t care. I never found this show offensive, but I’m sure I’ll forget about it in the very near now. NICK If The Acolyte were able to maintain the energy and pace of its pilot’s opening 10 minutes, it could have been special. Unfortunately, those moments are few and far between in what amounts to a pretty mediocre Star Wars product. Playing more like a mid-tier episode of Clone Wars , The Acolyte lacks exciting characters and fails to utilize its fight scenes frequently enough. For the first time, watching these episodes felt more like a chore than something I anticipated and that’s a depressing realization for a Star Wars series. Even with a late character revelation, The Acolyte can only be viewed as a disappointment. PAIGE It’s unfortunate to say, but The Acolyte is a very dull Star Wars series, featuring stiff performances and dreary dialogue despite having a promising premise. Though the series contains some awesome fight sequences, the action is not enough to redeem this clichéd mystery that lacks depth and emotion. I will give the show credit for trying to explore the Jedi as flawed individuals, but some of the creative decisions made throughout the series occasionally left me perplexed. In the end, this series left a disturbance in the force, or, perhaps, my expectations for Star Wars are simply too high.

SEVERANCE: SEASON TWO Starring: Adam Scott, Patricia Arquette, Britt Lower, John Turturro, Zach Cherry, Tramell Tillman, Christopher Walken, Ólafur Darri Ólafsson, Sarah Bock, Alia Shawkat, Bob Balaban, and Merritt Weaver Creator: Dan Erickson KATIE I am pleased to report that the second season of Severance was worth the agonisingly long wait, and it lives up to the first season’s absurdly funny satirisation of corporate culture and strained office dynamics, surreal visuals, and stylish direction. Season Two is darker than the first, delving deeper into the ominous world of Lumon Industries and the increasingly blurred lines between the innie’s work and personal life. Whilst some questions are answered, many more arise, making for an utterly addictive watch. As the interwoven narratives become increasingly existential and complex, I eagerly await tantalizing revelations and, hopefully, some satisfying answers. PAIGE Though it lacks the humanity and bizarre humor of Season One, Severance's second season is nevertheless an engaging brain-teaser that expands the scope of its intriguing premise in numerous ways. It's a whirlwind that I consider a must-watch, even if it doesn't quite reach the heights of its predecessor; however, it would have been undoubtedly difficult to top the brilliance that Season One provided. This time around, the Lumon employees are more complex, the story is certainly more ominous, and the futuristic workplace visuals are once again of the highest caliber. Despite the fact that I have no idea where this show is going, I’m sticking along for the ride. QUENTIN Throughout the season, I’ve frequently flipped between “fuck this show” and “this show fucks!” For better or worse, that is the power of Severance . It’s equal parts captivating, thanks to tremendous performances, stellar direction, and an impeccable score; and frustrating, thanks to a puzzle-box mystery that never hints at a destination (or even a point). It’s weird. I want answers, but I don’t really know what the questions are since the story slowly meanders so densely. Hell, some episodes start in places that make me feel like I missed an episode. Severance is an excellently crafted series, but that doesn’t make it an excellent watch. ADRIANO I waited three years for Severance to return, and it exceeded my already high expectations. Continuing its commentary on corporate malpractice and the way they take advantage of their employees, including the ones who comply, this season doubles down on its mystery, answering many of our questions while giving us more to ponder, mixed in with devastating heartbreak and a twisted sense of humour. The entire ensemble is amazing (Tramell Tillman is this season's MVP) and the direction across the season is excellent. I just hope I don't have to wait another three years for the next season. Check out our reviews for Season One HERE .

A MURDER AT THE END OF THE WORLD Starring: Emma Corrin, Brit Marling, Clive Owen, Harris Dickinson, Alice Braga, Joan Chen, Raúl Esparza, Jermaine Fowler, Ryan J. Haddad, Pegah Ferydoni, Javed Khan, Louis Cancelmi, and Edoardo Ballerini Creators: Brit Marling and Zal Batmanglij PAIGE To creators Brit Marling and Zal Batmanglij’s credit, A Murder at the End of the World provides a software update to the crime thriller genre. Thanks to the sincere performances of Emma Corrin and Harris Dickinson, this stylish and atmospheric whodunnit manages to be both compelling and unsettling. Overall, I quite enjoyed this The Girl with the Dragon Tattoo- type of murder mystery despite its flaws, including lackluster pacing due to the time jumps and a final product that maybe wasn’t entirely gratifying. QUENTIN Buried somewhere in A Murder at the End of the World , a sort of Knives Out meets True Detective murder mystery, is a good show. In fact, there are two good shows. However, the two storylines (one told in present day, the other in flashbacks) are constantly fighting with each other for screen time. This results in two half-hearted mysteries that are poorly developed, a problem that is exacerbated by the fact that the series is oddly just seven episodes. Also, I’m not sure I’d call it predictable, per se, but I guessed the murderer pretty early on; do with that what you will.

THE SYMPATHIZER Starring: Hoa Xuande, Robert Downey Jr., Toan Le, Fred Nguyen Khan, and Sandra Oh Creators: Don McKellar, Park Chan-wook ADRIANO I can't quite explain the joy of watching a show like The Sympathizer on a weekly basis. With Park Chan-wook at the helm, his style and unapologetic pacing make way for an entertaining show that's also gripping and stunning to experience. While its themes of colonialism and loss of identity hit home, the show never misses out on an opportunity to get into the weeds of its central character. Robert Downey Jr.'s headline-making performance (or performances, I suppose) is great, but Hoa Xuoande deserves just as much praise, if not more. There's simply nobody doing it like Park Chan-wook. AMARÚ There’s a very peculiar tone to Park Chan-wook’s The Sympathizer that is as eccentric as the many characters Robert Downey Jr. portrays. That energetic frequency enhances the dynamic nature of Chan-wook’s direction and Kim Ji-yong’s cinematography, but creates a massive tonal whiplash when compared to the show’s subject matter. This kept me constantly detached from the story no matter how engaging it appears to be, mostly because, even with a first-person narrative guiding you through it, I could never fully connect with its characters. The show is gorgeous to look at, but I couldn’t really tell you a memorable thing about it. CALEB The Sympathizer is a snappy, fine-tuned, political thriller bursting at the seams with intrigue and suspense. All the double-crossing and espionage are made even more exciting by Park Chan-wook’s unhinged directorial decisions. With all the wild transitions, wacky needle-drops, and intricately costumed Robert Downey Juniors (yes, plural), Chan-wook’s creativity seems almost endless. Underneath all of the visual insanity lies a genuinely moving story about identity that’s elevated by Hoa Xuande’s dynamic lead performance. The finale definitely becomes a little too convoluted for its own good, but The Sympathizer is still one of 2024’s best shows.

Previous April 4, 2025 Next A BITESIZE CHAT WITH SAMIR OLIVEROS In 1984, a down-on-his-luck HVAC technician with a get-rich-quick scheme obsession, that lived in an ice cream truck, made headlines when he appeared on the game show, Press Your Luck . Miraculously, this man won over $100,000, captivating audiences and driving CBS producers nuts. His name was Michael Larson, and what sounds like a miracle was actually deliberate and planned out, based on memorizing the game's patterns. Over 40 years later, Michael Larson's story is finally put to film in The Luckiest Man in America , directed by Samir Oliveros. I had the opportunity to speak to Oliveros to discuss the film and Michael Larson himself. BB: I remember hearing about the story of Michael Larson and the Press Your Luck scandal when I was a teenager and being so interested in it; I just knew I had to catch the film when it premiered at the Toronto International Film Festival last year. What was your relationship with the story of Michael Larson? Did this story come to you, so to speak, or was it one you were really interested in telling? SO:  It actually came to me when I was browsing through a thrift shop in LA. I like to do that because I like to browse through film negatives, photos, and old family memories because it's always a good inspiration for your characters when you're writing. I found this VHS tape and when I played it, it was a taping of Press Your Luck . I started researching about the show, and then I found out about the scandal and thought, “Oh, that must be an amazing movie,” and there was no movie. So that's when we decided to make it. BB: Now, I know Michael Larson passed away, I believe in 1999, but I'm curious if you were in any way in touch with his family during the writing or the production of The Luckiest Man in America . SO:  We were in touch with Bill Carruthers Jr., who's the son of the creator of the show and was a creative consultant. He read a couple drafts and helped us with a lot of the production design decisions. BB: What about Paul Walter Hauser? What was it in particular that stood out to you enough for him to play a role like Michael Larson? SO:  I think he manages to balance drama and comedy perfectly. I had seen him in Richard Jewell , and we needed somebody who could pull that off because what he does on screen and during the tapings is something that is extraordinary, but it's also funny when you see it. It's like, it gives you that nervous laughter in your stomach so we thought that somebody from comedy would be ideal, but who could also pull off those dramatic moments in the movie. Then at the time we were gonna start casting, they released Black Bird and I thought he was brilliant. That's why we thought he was the perfect Michael. BB: You also casted Walton Goggins as Peter Tomarken. Was that your first choice while watching tapes of the show or was he someone that came to you after? SO:  I'm a huge fan of Goggins, so we always thought of him for that role. Then we went out to him and he loved the role. It was great. He was amazing. He became Peter Tomarken for four weeks. BB: What did filming the Press Your Luck sequences look like? Was the set built from scratch? How many moving pieces were there in bringing the show to life? SO:  So, we had a perfect replica of the studio and my production designer was really focused on making sure that it was going to be identical. Because we were dramatizing some things for the movie, we wanted those known things to be very faithful to the original ones. There was a lot of focus on making sure that was gonna be exactly the same. Then, when we started shooting that stuff, it was amazing because at some point, Goggins just decided to just run the whole show. So, because we were shooting scene-by-scene, at one point he said, “Listen, let me run the entire taping in one go and let's see what happens.” I was super into that idea. That's when we let him do that and it was great because everyone else just felt the thrill and it felt like a taping of the game show. So, we were really happy with that idea. A lot of it made it into the movie, actually. BB: Reading up on Michael Larson, there is a lot that happens after the scandal. Was there ever any intention of portraying anything that went down with him after this situation? Or were you just steadfast on the scandal being the story? SO:  At some point, we spoke about a Catch Me If You Can multi-city epic which we were gonna just do like a big biopic with all of that included. But then, when we started focusing on the game show, we realized that there was this very interesting pace that the script was falling into and we loved it and we were like, “Do you think that it would be possible to keep it into one single location? Can we tell the whole movie in this one 24-hour moment in time?” The more we condensed it, the more we felt like this was a great movie. Also, because of the amount of exposition that we were gonna withhold and how we started structuring the movie so that we were peeling him like an onion, getting to his emotional core towards the end of the movie. It was really exciting; it felt like a great challenge. So, that's why we decided to make this the movie. BB: There is also an underdog story element to it. What was it about Michael Larson that you wanted to portray him, not as some schlub who cheated the system, but as a guy who succeeded in his own way? SO:  Because I believe that what he did was not wrong. I think what he did was just an unorthodox way of accomplishing his dream. He found a loophole and he exploited it. But at the end of the day, the guy had a good heart and what he wanted was just to get his family back together. The way in which he did it might have been questionable, but he was just a very driven guy and he just wanted to accomplish his dreams. I think that's very inspiring. We wanted to be able to have that complexity of character in which we see that gray area where we don't know if we're supposed to root for him or we're supposed to feel sorry for him. I think that's what makes for a good character. Make sure to check out The Luckiest Man in America now in theatres. Interview conducted on March 28th, 2024 by Adriano Caporusso.

Previous Next September 2, 2024 WRITTEN BY: KATIE I got to thinking about the notion of perfect films recently when I started making a real effort to catch up on some great films that, for no other reason than my own oversight, I had never seen. These films are not of any particular genre, and I cannot articulate why I waited so long to watch them, but they’re the classics generally agreed upon to be amongst the greatest films in the history of cinema. For example, until this year — and I am slightly ashamed to say it — I had not seen 2001: A Space Odyssey , The Godfather , or There Will Be Blood , among other films that make film fans gasp when you admit to having not seen them. That said, whilst I’ve been enjoying this experience immensely, I’ve noticed that many film books and online sources are repeatedly populated by the same titles when discussing “perfect” films. They also don’t pay much attention to genre films, family films, horror, animation, or comedies, and they tend to lack films focusing on women and female experiences. Admittedly, it’s hard to determine what constitutes a “perfect” film, and there are countless elements to take into account when considering if a film should be deemed flawless. Obviously, opinions of any art are totally subjective and personal, but I feel that when it comes to films, the ones that are considered perfect are those that are generally agreed upon by the largest contingent of groupthink, which can lead to a circular and self-fulfilling prophecy. To me, though, a perfect film is one that… · Resonates on an emotional level · Is visually engaging · Has a memorable score and/or music · Has enduring themes in a story that has wide appeal · Reveals or relates to something about the human experience With that in mind, I’d like to guide you through some films that I, personally, believe to be perfect based on the criteria above. Despite these films deserving such recognition, they usually are not the first ones mentioned when discussing the greatest films ever. For what it’s worth, I’m avoiding the films that often first come to mind in the public consciousness in these conversations, instead using my own subjectivity to highlight films that may not be considered as prestigious as the roundly agreed upon films you find populating most “Greatest of All Time” lists despite being just as good. This is not an exhaustive list, mind you (I do not have the word count for that), and yes, it leans a tad more recent, but it features shining examples, nonetheless. RATATOUILLE (2007) Ratatouille is my favourite film. It’s a true masterpiece, and everything about it is flawless. The voice acting is pitch perfect, the story is emotional and engaging, the visuals are exceptionally detailed, and it meticulously captures every element of a bustling kitchen, from the mouth-watering food to every pot, pan, and utensil. The world that it builds is immersive, making you want to crawl inside its warmth and stay there forever, and the time and attention that went into the film is obvious in every glowing city light and fleeting reflection off the Seine. The unique concept that drives the film lends itself wonderfully to the slap-stick comedy, yet the story at the centre of the film is grounded and humble, especially for a family film. The notion that “anyone can cook” is inspiring, and it can apply to every profession, passion, and pursuit while speaking to the power of perseverance in achieving what you want from life. I could speak about Ratatouille forever, and I believe it more than justifies itself as a perfect film. THE BABADOOK (2014) The Babadook is the true definition of horror with heart, and it utilises the genre to its fullest capacity with its visceral exploration of grief, motherhood, and trauma. One of the reasons The Babadook is so impressive is that it rides on the audience’s ability to empathise with the protagonist, Amelia (Essie Davis), who is both the victim and the monster. The film thoughtfully engages with Amelia’s trauma, never indulging in patriarchal tropes of motherhood whilst also having us fear her and her decisions at the right times. The same goes for her son Samuel (Noah Wiseman). He’s incredibly annoying, but the film also makes us feel sorry for him, desperately hoping for his well-being. It helps that the casting is flawless. Wiseman gives one of the best child performances I’ve ever seen, and Davis is captivating and terrifying. The film drags you along for Amelia’s terrifying ordeal, and genuinely keeps you guessing by convincingly blurring the lines between reality and figments of the character’s imaginations. Plus, the character design is simple yet uniquely creepy and original, conjuring up childhood fears of something lurking in the darkest corner of your bedroom. Lastly, and perhaps more importantly, the message is universal, showing that although grief never truly goes away, we can face it head on and deal with it little by little. MAD MAX: FURY ROAD (2015) Mad Max: Fury Road might be the best action film ever made (to me at least). The entire film is a perfectly calculated piece of pure non-stop adrenaline, but it doesn't lack substance or emotional engagement, keeping you on the edge of your seat for each and every moment. Every element of the film is distinct, impressive, and memorable, including the exhilarating soundtrack, cinematography, world-building, set design, stunt work, incredible action sequences, and vibrant colours that jump off the screen. The action doesn’t become repetitive either, gripping you in every moment, with not a single shot feeling out of place. Although it may seem overwhelming at times, you can simply focus on any part of any scene to see how deliberate it all is. The practical effects set it apart and contribute to its singular quality, and the mayhem taking place on the screen feels tangible, making you believe the carnage is actually happening. What’s more, Tom Hardy and Charlize Theron are fantastic in their roles, managing to convey tremendous amounts of emotion through their eyes and subtle facial movements alone. THE WITCH (2015) The Witch is one of my favourite horror films, and one of the few that is just as impactful no matter how many times I’ve seen it. Robert Eggers’ feature debut quickly establishes a dark, immersive mood before topping it with rising, paranoid tension; an eerie, discordant score; and a sense of historical authenticity that makes it feel like something evil is woven into the fabric of the film. Exploring ideas of Christianity and fears of witchcraft, it explores how the strict moralistic constraints of the time, which mostly concern women, are used against the family to make them turn against each other. All of this is framed by cinematography that emphasises the family’s isolation and heightens the effects of every sound and movement. The performances are also formidable, with a cast including Kate Dickie, Anya Taylor-Joy, and Ralph Ineson, who each shine in their roles and make the period language sound natural. Furthermore, the ending is bonkers and surprising, yet also feels like the most fitting ending for this chilling story. PETITE MAMAN (2021) Céline Sciamma’s beautiful film Petite Maman is both heartwarming and heartbreaking, exploring the simple notion that your parents also were children once, with their own unique childhood experiences, fears, and dreams. The film follows the young Nelly (Josephine Sanz), the eight-year-old daughter of Marion (Nina Meurisse), whose mother has just passed away. They travel to Marion’s childhood home to clear out her mother’s belongings, and Nelly meets another girl her age in the woods behind the home. The new friend looks remarkably like her, and they begin a beautiful friendship. The film has a fairytale-like quality that captures the childhood experience in a way that is magical yet realist, and the world it creates is quiet, understated, and mysterious. Some of its impact lies in the fact that it doesn’t rationalise or explain the fantastical situations that happen but leaves them open for each individual's interpretation. At only 72 minutes, the film breezes by but completely secures the audience’s perspective with the young protagonists, familiarising us with their private, intimate world.