Jesse Eisenberg delves deeply into the theme of grief with A Real Pain (2024), his second feature as a writer-director. Known for his talent in front of the camera, the filmmaker proves his skill behind it with a polished film carrying a powerful message. A Real Pain draws strength from the performances and a script that turns mundane situations into extraordinary moments.
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The Zone of Interest welcomes the audience with a black screen filled with an ominous sound that makes us anticipate the worst. We imagine that when that first image finally appears on the screen it will be terrifying. But director Jonathan Glazer’s intention is different. The first thing we see is a peaceful day in the countryside and a family enjoying themselves on river banks. Although what we see is not disturbing, the anticipation and the music have created in the audience the objective of disturbing and making the mind invent distressing scenarios.
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Finding the stories is the easy part. The difficult thing is to tell them in such a way that they become relevant. Michael Morris’s debut feature To Leslie (2022) does just the latter. The family drama of his story transcends by the way it is told and by the precision with which the narrative rhythm is carried out. When we approach the film, we can feel that what it is going to tell us is too familiar, that there is room to fall into the trite, but Morris’s hand is firm, and he relies on a magnificent cast to make his bet a winner.
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Just like that family sitting peacefully having their breakfast with the French Alps in the background when suddenly an avalanche shakes their world and changes it forever, that’s how Ruben Östlund shook me with his Force Majeure (2014). From that moment it has been an obligatory task to follow in the footsteps of the Swede. Triangle of Sadness is his sixth feature film. With the sharpness that characterizes him, he delivers an irreverent comedy that takes advantage of every minute to compose a social critique.
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The Last Movie Guy 