Getting home after seeing two shorts by Cecilia Bartolome (also reviewed) at the cinema,I decided to take a look on Mubi, where I discovered that this title was about to leave the site, which led to me getting ready to witness true bravery.
View on the film:
Going through an intense friendship which flickers away before their eyes, Souheila Yacoub and Deborah Lukumuena give heart-wrenching performances as Alma and Margot, whose deep, loving friendship is captured by the duo expressing complete ease, in Margot and Alma relaxing round each other as they dance down every street, until a sudden, unexpected turn is perfectly expressed by Souheila Yacoub, whose body language makes it look like Margot's heart has broken into 1000 pieces.
Closely working with Good Time (2017) cinematographer Sean Price Williams, writer/director Anais Volpe casts a wide joyful atmosphere net over Alma and Margot's friendship, via slick, hand-held camera moves running with the duo, which Volpe spins out into intense close-ups, as tragedy hits the bond between the friends.
Painting a detailed portrait of the friendship which has built up between Margot and Alma over the years, the screenplay by Volpe disappointingly departs from this character study, to instead go for miss-judged TV Movie of the Week weepie staples, which forces the friendship into a dripping with syrupy Melodrama, which drips over any room that could have been given to quiet, more subtle character moments for the brave.
View on the film:
Going through an intense friendship which flickers away before their eyes, Souheila Yacoub and Deborah Lukumuena give heart-wrenching performances as Alma and Margot, whose deep, loving friendship is captured by the duo expressing complete ease, in Margot and Alma relaxing round each other as they dance down every street, until a sudden, unexpected turn is perfectly expressed by Souheila Yacoub, whose body language makes it look like Margot's heart has broken into 1000 pieces.
Closely working with Good Time (2017) cinematographer Sean Price Williams, writer/director Anais Volpe casts a wide joyful atmosphere net over Alma and Margot's friendship, via slick, hand-held camera moves running with the duo, which Volpe spins out into intense close-ups, as tragedy hits the bond between the friends.
Painting a detailed portrait of the friendship which has built up between Margot and Alma over the years, the screenplay by Volpe disappointingly departs from this character study, to instead go for miss-judged TV Movie of the Week weepie staples, which forces the friendship into a dripping with syrupy Melodrama, which drips over any room that could have been given to quiet, more subtle character moments for the brave.