31 January 2025.
A COMPLETE UNKNOWN ****
This biopic of Bob Dylan’s early career in the 1960s is an evocative moment, one that director James Mangold (with co-scriptwriter Jay Cocks) has spun into a close impression of this mystery man of American folk music. And it is Timothée Chalamet who brings Dylan brilliantly to life with just the right amount of both ease and intensity. From the first moment he sets foot onto the grungy pavements of downtown New York City at age 19, he’s got us in his grasp. He’s there with his backpack and guitar, looking to find his idol Woody Guthrie and to make music. Despite his far more beautiful looks than the real Dylan, Chalamet becomes him completely. He plays Dylan with a confidence and belief in himself that is quite uncanny.
It’s a joy to witness Chalamet’s interpretation, as he plays the guitar and sings every song himself throughout the film. He apparently worked on this for years, learning to become a musician alongside his acting. For me, his exceptional performance deserves this year’s acting Oscar.
Beyond his presence, the film is a superb example of an honest biopic, despite some artistic license around the facts. All that is a given, for Mangold is a master of the genre, with such previous works as “Walk the Line” on Johnny Cash, and “Ford v Ferrari” about the racing giants, alongside thrilling gems such as “3.10 To Yuma” with Russel Crowe and Christian Bale, and “Knight and Day”, starring Tom Cruise and Cameron Diaz.
But back to this film. Edward Norton as the gentle folk guru Pete Seeger, and Elle Fanning as Dylan’s early love, are both deeply moving. (Her name is changed in the film to protect her privacy.) The film, the director, Chalamet and Norton have all rightly received Oscar nominations, along with Monica Barbaro as Joan Baez. Too bad Fanning was overlooked.
This is a film not to miss, for its pacing, its clarity and for bringing back such great troubadours of the turbulent 60s alongside Dylan as Baez and Johnny Cash. Those times are framed here by events such as the Cuban crisis during the short Kennedy years and by the racial and social upheavals of the era.
Without trying to, the film actually helps us understand why Dylan was given the Nobel literature prize for his poetic, socially relevant songwriting. This is a grand and satisfying work.
MON INSÉPARABLE ***1/2 (vo French)
Laure Calamy is a very fine actress and she has bloomed in various roles, both comic and dramatic, since her great success in the Netflix series “Call My Agent”. In fact, she deserves a César for this brilliant interpretation of a very loving mother to a mentally troubled adult son in this deep and tender analysis of a woman under years of emotional duress.
Written and directed by Anne-Sophie Bailly, this is a slow-simmering story of a woman’s close-knit relationship with her son, her impromptu but satisfying affair with a good man, and her having to confront her son’s new love life.
It’s intense, it’s moving, it’s what the French call, “bouleversant”.
LA PIE VOLEUSE *** (vo French)
Director Robert Guedigian is back again with another delicate tale about the good people and close community that is his version of life in Marseille. And, as usual, he is concerned about the decent working class and social matters along with his team of actors who have worked with him for decades – his wife Ariane Ascaride, Jean-Pierre Darroussin, Gérard Meylan and other familiar faces.
Ascaride’s character is a housemaid who takes care of various elderly people for whom she is a ray of sunshine. Her husband (played by Meylan) is a bit of a ne’er-do-well who spends his time gambling and fiddling with motorbikes. But the love of her life is her talented grandson, whom she wants to see become a great pianist. Despite her meagre income, she is paying for the rental of his piano and for his music lessons. But the problem is that the money comes from the amounts she regularly lifts from her trusting employers. She’s a good, caring woman, not a thief, just a too-loving grandmother.
The mood is languid as we follow her through her various households and shopping trips in this lovely Marseille summer and notice that her employers are really like thankful friends. Until a prying son finds out about this thieving magpie, as announced in the title of the film.
This is a gentle human story of both goodness and folly under the bright sun of this seaside city.
COMPANION ***
Here’s a timely, mind-boggling romance/thriller. It is reminiscent of other excellent films on somewhat the same subject – “The Stepford Wives”, “Ex-Machina”, “I’m Your Man” or “Her” – all mystifying and unforgettable.
It’s not easy reviewing this film without unleashing spoilers, so let’s just say that it’s smartly directed by Drew Hancock, it’s utterly modern, done with class and exhilarating.
It’s both touching and frighting yet constantly amusing and surprising. It takes place during a weekend at the remote but very plush house of a multi-millionaire. And it’s well acted by lovely Sophie Thatcher as the main character, Iris, along with an unrecognisable Rupert Friend as another alluring Russian (remember “Anora”s Igor?). Just for info, Jack Quaid who plays her boyfriend is the son of Meg Ryan and Dennis Quaid.
It’s gruesome fun, but don’t take the kids or grandma.
Superb **** Very Good *** Good ** Mediocre * Miserable – no stars
By Neptune
Neptune Ravar Ingwersen reviews film extensively for publications in Switzerland. She views 4 to 8 films a week and her aim is to sort the wheat from the chaff for readers.

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