EAT THE NIGHT (Poggi & Vinel): Lacks cohesion but who cares when the filmmaking is this bold? A unique doomed-young-love romance that bends convention, pushes form, and aches with feeling. A thrill ride and a gut punch. Something of its own. #LFF
BLITZ (McQueen): War Horse by way of a poor man's Oliver Twist, with characters and story strands that show promise but are barely developed (why on earth has Harris Dickinson signed up for this?). Despite a backdrop of bombing, much of the drama feels inconsequential. #LFF
THE PIANO LESSON (Washington): It's a great idea to frame a family's history (flaws, resentments et al.) around an inanimate object. Less so to hammer home a supernatural element that's too obvious in its aims. Quite cinematic for a stage adaptation. Deadwyler divine again. #LFF
THE WEEKEND (Oriahi): Unique take on a sub-genre of horror that's really making a comeback. Has the potential to be more nuanced but the dialogue and acting can tend to feel clunky. Protracted as a drama yet fails to surprise much. #LFF
SEX (Haugerud): Essayist to its core and doesn't contain any actual sex which is... bold? Interesting to see gay sex viewed from within a heteronormative bubble but some of the ideas (the Bowie dream; parallels between Christianity and homosexuality) didn't work for me. #LFF
A REAL PAIN (Eisenberg): Abrasive yet frequently lovely portrait of mental struggle that champions discomfort as a valuable tool towards self-evaluation. The characters and perspectives keep evolving throughout. The travelogue elements mostly work. A real win. #LFF