David Ray Gallagher (rebvodka042099)

Oh, I wish there were words capable enough to describe this film - to describe how it made me feel. But maybe there aren't. So, we'll make do with those we have.

I saw this movie at the 50th International Film Festival of Thessaloniki - a festival I've been going to for about 8 years, give-or-take. And this is the best movie I've seen in all those years, through all those movies. It's so intense it rips you apart, full of the most sublime poetry, simplicity raging and screaming. The direction is so meticulously studied - nothing left to chance - every single take and scene offering gravity to the characters. Even now, that I see the poster of the film, it's so brilliant is ridiculous how much. It has this sad-looking child on it, when in the film, we only see a child for seconds, and it is a happy-looking child in those seconds.

After the second half I was constantly crying. I can bet that I'm from the few people who have cried in this film - if not the only one. Because there really isn't something in it that can prompt tears. But it is one of the most intense, more human, more real films I've watched in my life. I wanted to explode, to stand up and shout. I kept switching positions in my seat, I shook my head and laughed and wanted it to end because I couldn't take anymore. And when it was over, I wanted to watch it again.

It's so far my favorite movie of this year. No, scratch that. It's my favorite movie of the last few years. If not my favorite movie amongst the few I hold so dear.

I wish Xavier Dolan can be funded to create more, more, more films in the future. Even though, I already think he has created his chef-d'oeuvre.

Samantha Morton's directional debut is as good as she could ever make it. I do hope there is a road ahead of her when it comes to direction, but this one certainly didn't blow me out of the water. When I watch a movie, I don't want it to make me think of the imperfections and the mistakes. I don't want a movie to make me see the direction, nor do I want to think, "ah, this could have been done better". Which is exactly what happened to me in this film. It's a difficult film to watch in terms of the compassion you feel has been deprived of Lucy, an 11-year-old girl who deserves every bit of love everyone around her failed to give her. Morton is a good amateur director in terms of her handling her actors correctly. But the editing was crude, the so-called "deceiving" of the different camera angles was too obvious, and it seemed like the whole movie was shot in one week - and like each scene only had one take. I'd like to see more of Morton in the future, but her first movie wasn't impressive, but rather tried too hard to be.

The only reason I'm sorry for, is that I didn't get to see this film when it came out two years ago. It was a powerful hit to the stomach, a film that is infused with subtle intensity, a movie about an unusual human drama. For me, this movie was about antitheses: prejudice vs. acceptance, male vs. female, freedom vs. oppression, love vs. neglect, heart-break vs. fulfillment.

The performances are simply brilliant, and although Argentinian cinema is one I'm the least familiar with, I was just proven that indeed the greatest movies don't require neither Hollywood nor billions worth of budget, nor happy endings.

A most powerful film about humanity, sexuality, acceptance, growth and tragedy. I literally didn't want it to end. Lyricism that flies off the screen straight to the heart. No taboos, no restrains, no limits. Real cinema. At last a movie I can call a masterpiece.

Oh, I wish there were words capable enough to describe this film - to describe how it made me feel. But maybe there aren't. So, we'll make do with those we have.

I saw this movie at the 50th International Film Festival of Thessaloniki - a festival I've been going to for about 8 years, give-or-take. And this is the best movie I've seen in all those years, through all those movies. It's so intense it rips you apart, full of the most sublime poetry, simplicity raging and screaming. The direction is so meticulously studied - nothing left to chance - every single take and scene offering gravity to the characters. Even now, that I see the poster of the film, it's so brilliant is ridiculous how much. It has this sad-looking child on it, when in the film, we only see a child for seconds, and it is a happy-looking child in those seconds.

After the second half I was constantly crying. I can bet that I'm from the few people who have cried in this film - if not the only one. Because there really isn't something in it that can prompt tears. But it is one of the most intense, more human, more real films I've watched in my life. I wanted to explode, to stand up and shout. I kept switching positions in my seat, I shook my head and laughed and wanted it to end because I couldn't take anymore. And when it was over, I wanted to watch it again.

It's so far my favorite movie of this year. No, scratch that. It's my favorite movie of the last few years. If not my favorite movie amongst the few I hold so dear.

I wish Xavier Dolan can be funded to create more, more, more films in the future. Even though, I already think he has created his chef-d'oeuvre.