Digital Week – May 6

In Emerald Fennell’s latest pseudo-provocation—following “Promising Young Woman” and “Saltburn”—Emily Bronte’s classic novel has been transformed into an often limp romance that drags along for more than two hours: if Margot Robbie (as Cathy) and Jacob Elordi (as Heathcliff) remain watchable, it’s due more to their movie-star magnetism than Fennell’s labored direction and soggy writing. The kids playing the star-crossed couple as youths— Charlotte Mellington and Owen Cooper—are quite natural and might come across better in a less obvious context, but we’re stuck with Fennell’s muddy visuals, choppy editing, on-the-nose symbolism and a score that’s not so much played as smeared over every frame. The film does look eye-popping on UHD; extras include Fennell’s commentary and three brief featurettes (23 minutes total) that include interviews with Fennell, Robbie and Elordi.

Italian director-cowriter Francesco Sossai’s scrappy comic drama tells the endearing if not poignant story of two drifting, alcoholic con artists who go on what they swear is a final bender, bringing with them a wide-eyed architectural student. Sossai makes up for what he lacks in originality with shrewd observations and a real sense of camaraderie that’s not forced. The acting trio of Filippo Scotti, Sergio Romano and Pierpaolo Capovilla is impeccable, the smaller parts are all well-taken, and Sossai shows a relaxed style that might bode well in the future. 

The 2009 murder of Indigenous protestor Javier Chocobar in Argentina and its complicated legal and moral aftermath is the center of this enraged documentary by Lucrecia Martel, who has been making provocative features for more than a quarter-century. Martel follows the tense courtroom drama—which plays out nearly a decade after the killing—but more importantly gives voice to the heretofore unheard Chuschagasta community, up against wanton corporate racism and destruction, all set in gorgeous landscapes stunningly rendered by Martel’s camera. 

Iconoclastic French director Arnaud Desplechin—whose “My Sex Life” and “A Christmas Tale” are remarkably cutting portraits of messy relationships—returns with another skewered tale of screw-ups: classical pianist Mathias returns to his hometown Lyon from Japan, where he’d been teaching, to perform with his mentor, Elena. Butting heads with her during rehearsals, he finds himself drawn back into the life of his ex, Claude, whose husband has just died—Mathias befriends her young son, who looks strongly like him. Desplechin revels in throwing these characters into highly emotional moments to navigate, and if he sometimes veers into melodramatic territory—Mathias feints when he first sees Claude upon his return—the observations are deeply felt, as are the performances by François Civil (Mathias), Charlotte Rampling (Elena) and Nadia Tereszkiewicz (Claude).

In Carine Tardieu’s sensitive drama, the death of young mother Cécile in childbirth is the catalyst for several people—her shattered husband Alex, her confused young son David, their middle-aged (and childless) neighbor Sandra and young doctor Emillia—to deal with the tragedy in myriad ways, from disbelief and anger to healing and newfound love. Although she skirts sentimentality throughout, Tardieu weaves very human responses into an emotionally stirring portrait of  several different forms of parenting. The superlative cast includes Pio Marmaï (father), Valeria Bruni Tedeschi (neighbor), César Botti (son) and Vimala Pons (pediatrician).