Who You Think I Am, Curzon Home Cinema
Juliette Binoche (above) plays a fifty-something woman who becomes obsessed, both with the younger man she befriends on social media and with the flighty alternative identity that she creates for herself. The virtual landscape is one that invites deceit, and this enjoyably lurid drama satisfyingly mines the slippery layers of manipulation. Binoche is terrific, striking a balance between portraying a sympathetic character struggling to cope with the creeping invisibility of the older woman, and a delusional, self-destructive monster.
Ema, Mubi What is it with cinema’s obsession with dancers and dysfunction? Following on from the tripped-out carnage of Climax and the elegant horror of Suspiria comes Ema, from Chilean director Pablo Larraín, a bracingly malicious portrait of a failing marriage between a dancer, Ema, played by Mariana Di Girólamo, and her choreographer husband (Gael García Bernal). Ema and her husband have failed as adoptive parents, and blame each other with escalating cruelty. Heady, sensual and throbbing, this is deliciously provocative, woozily stylised and wholly original.
Moffie, Curzon Home Cinema Set against the backdrop of South Africa in the early 1980s, this stunning gay drama by Oliver Hermanus digs deep into entrenched repression and anger, and unpicks the burden of white South African masculinity. Nicholas (Kai Luke Brummer) hides his sexuality like an unsightly scar, but military service on the Angolan border plunges him into a world in which male intimacy is a minefield. It’s a strikingly cinematic work.
Ema, Mubi What is it with cinema’s obsession with dancers and dysfunction? Following on from the tripped-out carnage of Climax and the elegant horror of Suspiria comes Ema, from Chilean director Pablo Larraín, a bracingly malicious portrait of a failing marriage between a dancer, Ema, played by Mariana Di Girólamo, and her choreographer husband (Gael García Bernal). Ema and her husband have failed as adoptive parents, and blame each other with escalating cruelty. Heady, sensual and throbbing, this is deliciously provocative, woozily stylised and wholly original.
Moffie, Curzon Home Cinema Set against the backdrop of South Africa in the early 1980s, this stunning gay drama by Oliver Hermanus digs deep into entrenched repression and anger, and unpicks the burden of white South African masculinity. Nicholas (Kai Luke Brummer) hides his sexuality like an unsightly scar, but military service on the Angolan border plunges him into a world in which male intimacy is a minefield. It’s a strikingly cinematic work.
