Nicholas Cage’s daring roles and performances like this one are what make him one of the most interesting and great contemporary actors. He dares to venture where many wouldn’t even consider.
In-between being a documentary, a fiction, and even just a behind the scenes look to the making of a movie, this is for sure an innovative approach to filmmaking.
Nevertheless, this mix proposed by Kaouther Ben Hania can also be a bit perceived like a macabre social experiment for which it makes you wonder if it the experiment is worth the making considering the pain that it causes to everyone involved (both for the real people, as well as the professional actors).
The drama and intensity of the story surely gets strengthen as we move forward and we transition from the experiences of the mother to those of the daughters.
Concurrently, it is noteworthy how actually uncomfortably and bravely comedic it is the film at times considering its unsettling subject matter.
Besides its really cool locations and nice panoramic presentation, not much more that you can save from this.
Its plot feels completely deceptive and not in a good sense. It does not feel like the result of something that Sen is looking for but rather a lack of clarity in the writing process, jumping from a detective thriller to family drama quite suddenly and unnaturally.
The film has a way too long introduction for Vicky Krieps’ character, who otherwise does a great performance, and unnecessary focus on her family issues which seem to look for an inexplicable empathy towards her despising character.
Otherwise, the movie does not start to pick up steam until the appearance of Mike Wilson and the look at the indigenous and migrant reality at the Mexican border.
Darkly funny at times, its premise (a member of the Srpska army looks for the pardon of his first victim) and setting (a dating event) are quietly ingeniously put together.
Nevertheless the tension does not feel like it gets fully built and its climax seems underemphasised.
