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The movie is bursting with color, talk, cooking, and love affairs. Cruz’s firework charisma lights the proceedings, as does that of newcomer Milena Smit, who plays Ana, a younger mother, whose life becomes knotted with Janis’s. She’s Janis, a photographer and one of two new mothers in a domestic melodrama that offers jolting twists and reversals. Parallel Mothers feels like a sibling to that lovely, elegiac film-given the magisterial performance at its center from another longtime Almodóvar muse, Penélope Cruz. Will it be transgressive, madcap, hilarious, chilly, erotic-or all of these things? The 72-year-old Spanish director’s last movie, Pain and Glory, was startlingly autobiographical, and featured a glowingly human performance from Antonio Banderas as a director in an emotional spiral. The delight of a new Pedro Almodóvar film is its unpredictability.
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How to watch: In theaters beginning December 26. Silence, which pervades Memoria (there is virtually no score), is both a relief and a source of anxiety its interruptions welcomed as much as dreaded. But never mind the story: This is a movie for sitting-in more than following. Her attempts to identify or diminish it-first, by having a sound engineer recreate it (she compares the sound to that of a concrete ball falling through “a metal well surrounded by seawater”) later, by asking a doctor for Xanax-conclude with a mysterious meeting in the rainforest, suggesting that Jessica, very much a stranger in a strange land, is channeling something grand, ancient, strange. It follows a botanist named Jessica (the sublime Tilda Swinton) who, while visiting her sister in Bogotá, is followed by a mystifying sound only she can hear. Memoria, from the Thai filmmaker Apichatpong Weerasethakul, is a transfixing and lightly terrifying piece of work. (Leda’s younger self is played by Jessie Buckley: sexy, ambitious, impulsive.) The Lost Daughter is a tour de force of acting and an examination of female desire, restlessness, and rage. There’s a young mother in the group- Dakota Johnson, alluring and unhappy-who catches Leda’s eye and reminds her of choices she made years ago. Olivia Colman, in an indelible performance, plays a vacationing academic named Leda, squarely in middle age, who sees her Greek-island idyll spoiled by a boisterous American family that has descended upon the resort. And yet this haunting movie, filmed under strict precautions last winter, achieves an uncanny mix of sun-splashed escapism and claustrophobic dread-just the right combination for a story about the dark side of parental attachment. It surely wasn’t Maggie Gyllenhaal’s dream to shoot her directorial debut, The Lost Daughter, an adaptation of Elena Ferrante’s 2006 novel, in the depths of a COVID lockdown. The title refers to an endless drought afflicting this corner of Australia, and the scenes of climate devastation are piercing, extremely 2021, and add to the feeling of menace in the dusty air.
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( The Dry is based on a best-selling crime novel by Jane Harper.) But The Dry isn’t only for nostalgists.
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We used to have movies like this-simple, competently written, grown-up entertainments that didn’t involve extended universes or CGI. There is a gorgeous, unaccountably available old friend (played by Genevieve O’Reilly) for him to reconnect with and a bunch of roughneck locals to give him a hard time at the hotel bar. He is brooding, tight-lipped, and, yes, has a secret in his past. Its star, Eric Bana (who looks fantastic in a white shirt and sunglasses), plays a Melbourne detective returning home to attend a funeral, and maybe stay a few extra days to make sense of the violence that has transpired there. This content can also be viewed on the site it originates from.Ī highly enjoyable, richly atmospheric crime drama set in a rural Australian town where an appalling murder has just taken place, The Dry is simultaneously throwback and modern feeling.