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Title : Thirunaal
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Thirunaal release date : 8 July 19 9 0
Thirunaal runtime : 138 Minutes
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Title : Captive State
Captive State genre : Science Fiction
Captive State crew : David Crockett, Keith P. Cunningham, Rupert Wyatt, Rupert Wyatt, Rupert Wyatt, Rob Simonsen, Abby O'Sullivan, Alex Disenhof, Andrew Groves, Erica Beeney
Captive State release date : 10 December 19 0 5
Captive State runtime : 110 Minutes
Captive State Crew : David Crockett, Keith P. Cunningham, Rupert Wyatt, Rupert Wyatt, Rupert Wyatt, Rob Simonsen, Abby O'Sullivan, Alex Disenhof, Andrew Groves, Erica Beeney
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As a huge fan of the sci-fi genre, especially when it involves alien invasions of some kind, movies like this always leave me excited. It doesn’t matter what the audience or critics have been saying (in fact, it never does) because it won’t affect my enthusiasm (in fact, nothing does). By knowing who the cast, director, writers, and producers are, I instantly know how high or low I need to set my expectations. Having this in mind, I was hoping that Captive State could be one of 2019’s surprises. It has an unusual concept that can provide a very unique story if it’s well-told, so the big question is: did they execute all of their ideas successfully?

Unfortunately, no. Not even close. Honestly, the screenplay is so convoluted and messy that I felt “lost” several times. I admire the amount of work that they put into this because they actually did and it shows. The overall concept and its ramifications are all there, the story is indeed interesting. It’s just the way that it’s told that ruins the entire thing. However, the first sentence I heard after the film’s conclusion, came from someone who said: “here I was expecting massive action and …” If you go into your movie theater expecting a straightforward, action-heavy, alien-invasion-type flick and you leave disappointed, that’s on you! From the trailers to its marketing, there was never a message of “hey, this is pure action, humans vs. aliens!”

It tried its best to give the world a different take on this “sub-genre”, let’s call it that. I mean, they had it all: a good cast with the always astonishing John Goodman (William Mulligan) as one of the protagonists, beautiful visual effects that elevated the set design, and the aliens actually have an intriguing physical shape. Sadly, there’s barely any aliens throughout the runtime. There’s hardly … anything. I don’t know what happened post-production, but it feels like they were pushed to deliver something different, so they cut all of the other scenes with extra-terrestrial stuff (I’m certain that they had more to show).

The main issue here is that you can never have a 100% ambiguous story. Arrival is probably the best non-typical alien-invasion movie ever, not because it scarcely shows any aliens or action, but due to its twistful and thought-provoking script. Nevertheless, it still shows a lot! You don’t leave that film disappointed because you didn’t see the inside of a spaceship or an actual alien. You leave perplexed and with your mind blown. Captive State just leaves you confused and wishing for more. A lot more. There’s really not that much more to say on this review without getting into spoiler territory.

Sadly, this is one of those movies that come out every year showing tremendous potential, an innovative and intriguing premise, but that in the end, it just isn’t able to succeed. It doesn’t structure its story and ideas in the most efficient way possible. Its execution is sloppy, filled with hollow characters, no real flow (it feels like it’s just a scene after another scene), too vague, and it profoundly hopes that you didn’t figure out a pretty obvious twist so they can shock you seconds away from the end. It’s not horrible, but it’s definitely frustrating and disappointing.

John Goodman delivers a great performance as always, and the visual effects are striking, to say the least. The production quality is undeniable, they really worked hard to provide the audience with an environment that actually feels real. The first act is pretty good, but it’s downhill from there. Ashton Sanders shares the lead with Goodman, and he’s also pretty good, no doubt about it. However, and this sums up the film pretty well: if I have to check online what the name of the main character was (Gabriel Drummond), then something went terribly wrong. It’s not going to end up being one of the worst movies of the year, but so far, it’s the biggest letdown.

Rating: C-
Honestly don't really know what I just saw. It's like if _The Battle of Algiers_ had no nuance, or if _District 9_ you know... sucked.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._

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Title : Can You Ever Forgive Me?
Can You Ever Forgive Me? genre : Drama, Crime, Comedy
Can You Ever Forgive Me? crew : Kelley Cribben, Anne McCabe, Arjun Bhasin, Bob Balaban, Robert Hein, Tony Martinez, Pamela Hirsch, Pamela Hirsch, Anne Carey, Sarah E. McMillan
Can You Ever Forgive Me? release date : 29 June 19 4 4
Can You Ever Forgive Me? runtime : 107 Minutes
Can You Ever Forgive Me? Crew : Kelley Cribben, Anne McCabe, Arjun Bhasin, Bob Balaban, Robert Hein, Tony Martinez, Pamela Hirsch, Pamela Hirsch, Anne Carey, Sarah E. McMillan
Can You Ever Forgive Me? movie cast :
Melissa McCarthy, Richard E. Grant, Dolly Wells, Jane Curtin, Ben Falcone, Anna Deavere Smith, Stephen Spinella, Gregory Korostishevsky, Christian Navarro, Pun Bandhu
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When a bestselling celebrity biographer is no longer able to get published because she has fallen out of step with current tastes, she turns her art form to deception. Can You Ever Forgive Me? 2018 review : Lee Israel was selfish, cold, sad, and disreputable. She was also really fun to know. Sookie nails this one.
Mad props to Melissa McCarthy for turning it around with this after _Happytime Murders_ and _Life of the Party_. Actually after basically every single thing I've seen her in up until this point. I honestly can't think of a single role I've liked her in. Until Lee Israel of course, because as her, in this, McCarthy is great.

Respect for Richard E. Grant in the supporting role as well.

It took me a little while after I'd finished watching _Can You Ever Forgive Me?_ to realise I liked it as much as I did, but I did.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_Unexpectedly emotional, with a towering central performance_**

> _I had never known anything but up in my career, had never received even one of those formatted no-thank-you slips that successful writers look back upon with triumphant jocularity. And I regarded with pity and disdain the short-sleeved wage slaves who worked in offices. I had no reason to believe life would get anything but better. I had had no experience failing_.

- Lee Israel; _Can You Ever Forgive Me?: Memoirs of a Literary Forger_ (2008)

Directed by Marielle Heller, with a screenplay by Nicole Holofcener (who was originally attached to direct) and Jeff Whitty, _Can You Ever Forgive Me?_ is based on Lee Israel's 2008 memoir, _Can You Ever Forgive Me?: Memoirs of a Literary Forger_. Taking the form of a buddy crime caper in which two mismatched rogues are thrown together by circumstances and set out to stick it to a system, if you strip away the easily-digestible/easily-marketable surface, you'll find that _Can You Ever Forgive Me?_ is a surprisingly moving study of loneliness.

Funny in places, the film is very much anchored by its two leads - Melissa McCarthy as Israel herself, a broke unemployed 51-year-old lesbian alcoholic who is pouring her time and energy into a book no one wants to read, and is unable to even pay her beloved cat's vet fees; and Richard E. Grant as her (fictional) friend Jack Hock, a promiscuous homeless homosexual junkie. On paper, these are not the kind of people you'd want to spend time with, nor the kind of people you'd expect to care about. But Holofcener and Whitty's script is so good, Heller's direction so subtle, and the performances so nuanced and layered that you do come to care for them. Rather deeply in fact. Indeed, there's a scene about three-quarters of the way through the film that's one of the most devastatingly succinct depictions of utter heartbreak and physically manifested grief that I can recall seeing on screen. The film is presented in such a way as to show us that behind the acerbic façade these two people have constructed for themselves, they are vulnerable, lonely, and scared, and although neither would admit it, they are both crying out for meaningful human companionship. There's a lot of pathos in that, and Heller makes sure to mine every single bit of it in what is an unexpectedly exceptional film.

Set in New York in 1991 against the backdrop of the AIDS epidemic, the film tells the story of Lee Israel (McCarthy). Once a celebrated biographer, her books _Miss Tallulah Bankhead_ (1972) and _Kilgallen: An Intimate Biography of Dorothy Kilgallen_ (1980) were both well received, with Kilgallen placing on _The New York Times_ Best Seller list. However, her 1985 book, _Estée Lauder: Beyond the Magic_, was a critical and commercial failure, and she is subsequently unable to generate interest in a proposed biography of Fanny Brice. By 1991, finding herself out of touch with the current literary vogue of prolific and trashy celebratory authors such as Tom Clancy, she has become so irrelevant that her agent, Marjorie (Jane Curtin), is reluctant to return her calls, ultimately telling her she should find another line of work. Financially crippled, Israel is unable even to afford the vet bill for her beloved cat, Jersey, and so she begins to sell her belongings, including a letter from Katharine Hepburn. Whilst continuing to research her Brice biography, she happens upon an original letter from Brice folded in a book. Taking it to a local book-seller, Anna (Dolly Wells), Israel is told that the more interesting the contents of a letter, the more it will sell for. With this in mind, she begins to forge and sell letters by deceased celebrities such as Edna Ferber, Dorothy Parker, Ernest Hemingway, Noël Coward, Marlene Dietrich, Lillian Hellman, and Louise Brooks, ensuring they contain intimate details so as to command a higher price. Meanwhile, Israel develops a friendship with Jack Hock (Grant), who is eventually pulled into her scheme. However, when the forgeries are discovered and the FBI become involved, both Israel and Jack find themselves in over their heads.

The film was originally announced in April 2015, with Julianne Moore as Israel, and Nicole Holofcener (_Friends With Money_; _Please Give_; _Enough Said_), set to direct from her own script. In May, Chris O'Dowd was cast as Jack. However, in July, Moore dropped out due to "creative differences", and was soon followed by Holofcener and O'Dowd. In May 2016, Melissa McCarthy was cast as Israel, with Marielle Heller (_The Diary of a Teenage Girl_), directing from playwright Jeff Whitty's (_Avenue Q_; _Head Over Heels_) rewrite of Holofcener's original script. The phrase "_can you ever forgive me_", which is also the title of Israel's memoirs, is taken from a line Israel used in a forged letter from Dorothy Parker. The real Israel began writing in the 1960s for _The New York Times_ and _Soap Opera Digest_. In 1967, she wrote a piece on Katharine Hepburn shortly after the death of Spencer Tracy that was published in _Esquire_. In 1972, she published _Miss Tallulah Bankhead_, and in 1980, _Kilgallen: An Intimate Biography of Dorothy Kilgallen_, which made it onto _The New York Times_ Best Seller list.

In 1983, Macmillan paid her an advance to begin a warts-and-all Estée Lauder biography. Lauder herself tried to block the biography, with Israel claiming that Lauder repeatedly offered to pay her off to stop writing. When Israel refused, Lauder began writing her own memoirs. Both were published in 1985, but Israel's was critically thrashed and a commercial failure. Israel later wrote,

> _instead of taking a great deal of money from a woman rich as Oprah, I published a bad, unimportant book, rushed out in months to beat hers to market._

With the failure of the book, Israel's career went into rapid decline, and she was soon on food stamps (which isn't shown in the film). Upon beginning her letter scam, Israel went to extraordinary lengths to make her forgeries difficult to detect - she obtained old typewriters appropriate to the era in which the letters were supposedly written, with each typewriter assigned to a different person; in order to match the paper to that used in real letters, she would tear out blank pages from the back of contemporaneous periodical journals, or, when that wasn't an option, she would bake paper to age it; she read real letters from her subjects to better ensure that the cadence of her forgeries was appropriate; she would trace over signatures by placing pages on an upturned TV. According to Israel, she either altered, forged, or stole over 400 letters in total.

Fundamentally, _Can You Ever Forgive Me?_ is not about Israel's scam; it's about two exceptionally flawed people. Just as she did in her debut feature, Heller presents fully dimensional portraits of such people within the larger framework of a vibrantly realised milieu; in _Diary of a Teenage Girl_, it was the sexual liberation of San Francisco in the 1970s, whereas here it's the AIDS epidemic of New York in the 1980s/1990s. However, just as _Diary_ was not about an epoch, but about a specific person within it, such is the case in _Forgive_, where AIDS is always present, but rarely foregrounded; it's the backdrop of the story, not the subject. Credit must also be given to Holofcener and Whitty's script, which vividly represents some extremely unpleasant aspects of Israel and Jack's loneliness (Israel's apartment, for example, is infested with flies, which isn't the most subtle metaphor of all time, but it is effective). In this sense, the film fits very much into Holofcener's _oeuvre_, and it would have been very interesting to see what she'd have done with the material had she remained on as director.

Cut off from virtually all human contact, grouchy and bitter, Israel only ever seems at ease when buried in research or lying in bed with Jersey. However, in contradistinction to most narratives about this type of acerbic personality (think films as varied as Peter Berg's _Hancock_ or Alexander Payne's _Nebraska_), there's no real attempt to humanise or redeem Israel, and even when the story reaches its emotional apex, there's no real sense of the moment being instructive or a watershed. Even when she goes on a date, she is afforded very little humanity, as she purposely sabotages the encounter moments after realising she is beginning to open up, as if she's ashamed of herself for showing vulnerability. Indeed, in practical terms, Israel has very little arc; she's a little softer at the end, but not much (in her final scene she laughs about being in a bar when she's supposed to be at an AA meeting, and jokes about tripping up an AIDS patient with a crutch). Furthermore, the film never excuses her crimes. It does rationalise why she started forging letters, but it never celebrates or condones her activities.

Absolutely committing to her performance, Melissa McCarthy completely immerses herself in Israel, in what is easily her best role to date. Helped in no small part by the frumpy costume design by Arjun Bhasin (_Life of Pi_; _Love is Strange_) and the less-than-flattering hairstyling by Linda D. Flowers (_Captain America: The First Avenger_; _The Hunger Games_; _Furious 7_), Israel seems organically fused to the production design of Stephen H. Carter (_The Bourne Legacy_; _Birdman or (The Unexpected Virtue of Ignorance)_; _Spotlight_), with her world one of dirty browns, dark beiges, and neutralising greys. Both the film and McCarthy lean into the fact that Israel is such a contentious, contrary, and unlikable individual. In an early scene at a party, for example, Israel steals toilet rolls, some shrimp, and someone's jacket. At one point, an exacerbated Marjorie tells her, "_you have destroyed every bridge I have built for you_", explaining, "_either become a nicer person or make a name for yourself. As an unknown, you can't be such a bitch._"

However, what makes the performance so good is that no matter how cruel Israel is, no matter how irreverent and combative, her loneliness is always there to see, making it difficult to dislike her as much as we should. McCarthy touches on everything from friendship to creative insecurity to heartbreak, so as easy as it is to view her antagonistically, it's almost impossible to really condemn her. Yes, her exterior is prickly and calloused, but it serves to cover up not insignificant pain. Yes, she can be unjustifiably misanthropic, but she's also extremely vulnerable. McCarthy plays Israel as her own worst enemy, a deeply sad woman, whose acerbity is both a cause and a result of her situation. Where the performance really excels is in the subtle ways McCarthy shows us Israel's buried humanity, demonstrating how much she craves companionship – we see it in how she is when alone with Jersey, we see it in how she gravitates towards Jack, we see it in the early parts of her date with Anne, we see it in a brief scene when she meets up with her ex, Elaine (Anna Deavere Smith).

McCarthy is perfectly matched by Richard E. Grant, who plays Jack as a rouge's rouge, difficult to pin down (when Lee asks him what he does, he replies, "_oh, this and that. Mainly that_"), a mischievous shark-ish smile permanently on his face, never one to let minor things like homelessness or drug addiction get him down. Their chemistry is perfectly modulated, and their scenes together (which take up about half of the film) are so well written and performed, so hilariously denigrating and quick-witted, you'd be happy to sit there watching them all day. Like McCarthy, Grant is well aware of Jack's flaws, and like McCarthy, he emphasises them rather hides them. Jack actually has a more conventional arc than Israel, and two scenes in particular really push the audience's ability to view him sympathetically. Whilst Israel remains on a relatively even keel throughout, with her worst characteristics on display from the get-go, Jack's core is revealed more slowly, and towards the end of the film, his choices show his character in a different, and not especially flattering, light. With this in mind, it's a testament to Grant's performance that Jack remains so demonstrably human throughout.

One of the most interesting aspects of the film is the pride that Israel takes in what she is doing. Yes, it's criminal, but she takes the work very seriously and is proud of the results. In her book, Israel argued that the forged letters were the best work of her career, far surpassing her three biographies, proudly claiming, "_I'm a better Dorothy Parker than Dorothy Parker_". When Jack mentions what she's doing is not dissimilar to the _Hitler Diaries_, she momentarily beams with pride. At a later point, when Jack expresses disdain for the importance of the forgeries, Israel chastises him, telling him the letters are "_a portal into a better time and a better place when people still respected the written word_", following this up with the curt, "_respect what you're selling_". She may be a criminal, but she has reverence for what she does.

In reality, Israel had struggled for decades to find her place in New York's literary scene, unsuccessfully (of course, it didn't help that she despised everyone in the industry). She had spent the 1970s and 1980s writing biographies, but by the early 90s, the scene had changed, and she had failed to change with it. Who can blame Marjorie for not being especially interested in a biography of Fanny Brice when she has someone like Tom Clancy as a client? Sure, he's a hack who churns out variations on the same story over and over again (think a slightly more talented Dan Brown), but his books sell millions, whereas Israel's most recent work was marked down by 75% only weeks after going on sale. Indeed, the film takes a particularly funny swipe at Clancy (although he's never mentioned in the memoirs). He is shown at a party (played by Kevin Carolan), wearing the most pretentious polo-neck I've ever seen, and conceitedly telling a group of hangers-on,

> _writer's block is a term invented by the writing community to justify their laziness. My success is nothing more than that I have the dedication and stamina to sit and get the work done._

Of course, the fact that Israel's forgeries proved so successful highlighted two extremes of her ability; yes, she could be genuinely creative, but only when imitating someone else's voice. This is why she was such a good biographer - apart from being a diligent researcher, the most important skill for a biographer is the ability to place the reader in the head of the subject, i.e. to imitate them. The letters proved that Israel could do this with unparalleled success (much to her amusement, two of the letters she forged from Coward were actually published in the first imprint of Barry Day's 2007 book, _The Letters of Noël Coward_, although they were removed for the second printing). They also demonstrated that she had a keen and caustic literary wit, although it was a talent of which she unsure what to do for most of her life. Interestingly, in the book, Israel says she was uncomfortable with the fact that due to increased scrutiny on the part of buyers, she had to start stealing real letters from archives, replacing them with forgeries, and then selling the originals. Not only does outright theft violate the sanctity of the written word which she holds so dear, but, perhaps more importantly, the creative element of her work was now lost - all she was doing was copying from one page to another. Indeed, when the film depicts this phase of her forgeries, it does so dispassionately, void of the sense of fun which had been very apparent up to this point.

Aesthetically, the film is gorgeous in how drab it looks. I've seen numerous critics talk about how evocative it is of a New York that's long since gone, and, having never been to New York, I'll have to take their word for it, but I'll certainly agree it exudes an evocative sense of place, reminding me of something like the New York of Spike Lee's _25th Hour_ (2002) or the Tokyo of Sofia Coppola's _Lost in Translation_ (2003). I've already mentioned the production design, wardrobe, and hair, but equally as impressive is the cinematography by Brandon Trost (_Crank: High Voltage_; _Popstar: Never Stop Never Stopping_; _The Disaster Artist_). It's rare that you see a film where it doesn't just look cold, it literally feels cold, as if the weather has somehow gotten into the texture of the celluloid. This damp and dreary New York is a million miles from the more romantic depictions of the city we're so used to seeing. It's a place where people still smoke in bars and workplaces and do cocaine in public toilets, where there are warm, cosy bookshops on every street corner. Again, I can't attest to this myself, but I'm told the venerable old-school New York bookshop is, sadly, a dying breed, an analogue institution in an increasingly digital world. The point is, the world of the film feels lived in; from Israel's horrific apartment with its cat faeces and fly infestation, to the bookshops, to the gay bars she and Jack frequent - everything feels like it was just filmed as is, without an art department finessing it, even extending to the props, which prove so important once Israel has acquired multiple typewriters.

It's rare I write a review in which I legitimately struggle for something to criticise, but this is such a review. Aside from Israel lacking an arc (which I personally don't see as a problem, but some definitely will), the only other thing I would bring up concerns the tone of the story, which remains detached, and which some will probably find too impersonal. I guess some people might find the story a bit dull as well.

This is a film about fundamentally broken people trying to put themselves back together, about people on the edge trying to chart a course to the centre, about scavengers trying to find something life-changing in the wreckage. It asks the question (although never explicitly) how such a talented writer as Israel could have gone unnoticed and ended up as she did. With the industry what it is today, this is an even more pertinent question than it was in 1991 (or 2001. Or 2011 for that matter). What is on the surface (and what is being marketed as) a caper dramedy is, in fact, a much deeper and more observant study of human frailties and failings, a paean to the importance of friendship, and (cliché alert) the importance of love (even if it's only of the feline variety). Melissa McCarthy gives a monumental performance in a role that, in any other year, would have made her a favourite for Best Actress. This year, she's competing against Olivia Colman for her performance in Yorgos Lanthimos's _The Favourite_, which means she hasn't a hope in hell of winning. However, hopefully, this will lead to more dramatic roles down the line. She certainly deserves them.

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An irreverent comedy about the misadventures of Moondog, a rebellious stoner and lovable rogue who lives large. The Beach Bum 2019 review : Not as good as Spring Breakers for me but still an amazing film nonetheless. I loved Matthew McConaughey's performance and this is probably my second favorite Harmony Korine film. Loved it. It'll get pushed under the rug of course but McConaughey deserves an Oscar nomination for sure.
While the film won’t reveal any new revelatory outlooks on life or leave you feeling like you just witnessed a game-changing piece of cinema, ‘The Beach Bum’ is an incredibly enjoyable 95-minute exercise in escapism, love, and the unprecedented pleasures life can bring. It's the film equivalent of holding a beer in one hand and drunkenly throwing up a peace sign with the other, beaming brightly as you take a picture with your closest, drunkest friends for a moment you’ll never remember on a night you’ll never forget.
- Ashley Teresa

Read Ashley's full article...
https://www.maketheswitch.com.au/article/review-the-beach-bum-mayhem-with-matthew-mcconaughey

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Disobedience release date : 17 August 19 3 6
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"I think _Disobedience_ could get some Oscar attention. It's depressing Jewish lesbians, so chances are pretty high. It was actually a pretty decent movie. Really didn't overplay the onscreen sex, which was good, but I do wish there were queer movies which were more middle of the spectrum. Seems like 99% of the time you either get hokey deliberate trash """comedies"""" made on 47c budgets like _Yeti: A Love Story_, or super serious (and almost always super grim) art-y dramas like _Moonlight_ that are very well made but also make you very upset...

Don't get me wrong, I'm very thankful for both of those types of movies, but where's like... _Die Hard_ where Bruce Willis is a shirtlifter?"

**P.S. I'm buying this soundtrack.**

**_**Final rating:★★★ - I liked it. Would personally recommend you give it a go.**_**
**_A well-told love story, set against a background of religious orthodoxy_**

> _An important point to make from the outset is that Jewish law does_ not _teach that it is forbidden to be a homosexual. On the contrary, Jewish law is concerned not with the source of a person's erotic urges nor with inner feelings, but with acts. The Torah forbids the homosexual_ act_, known as_ mishkav zakhar_, but has nothing to say about homosexuality as a state of being or a personal inclination._

> _In other words, traditionally, a person with a homosexual inclination can be an entirely observant Jew a__s long as he or she does not act out that inclination._
>
[...]

> _Lesbianism is never mentioned in the Torah. One talmudic passage refers to homosexual acts between women: "R. Huna taught, Women who have sex one with the other are forbidden to marry a Kohen." The_ Halakhah _rejects Rav Huna's opinion and allows a lesbian to marry a Kohen. However, Maimonides ruled that lesbianism is still prohibited and should be punished by flagellation. The prohibition is not as stringent as that against male homosexuality because the Torah does not explicitly prohibit les­bianism, and because lesbianism does not involve the spilling of seed._

- Rabbi Michael Gold; _Does God Belong in the Bedroom?_ (1991)

Depicting the problems that can arise when deeply held spiritual beliefs clash with notions of personal freedom, _Disobedience_ is the story of a forbidden love given a second chance. Based on Naomi Alderman's 2006 novel, written for the screen by Rebecca Lenkiewicz (_Ida_) and Sebastián Lelio, and directed by Lelio, the film covers some of the same thematic territory as Lelio's previous features; _Gloria_ (2013) deals with a 58-year-old divorcée trying to re-enter the dating scene by frequenting singles-bars, and the Oscar-winning _Una mujer fantástica_ (2017) looks at a transgender waitress trying to come to terms with the death of her boyfriend, whilst also navigating a prejudiced society. In _Disobedience_, Lelio turns his attention towards a lesbian relationship within London's relatively insular Modern Orthodox Jewish community. What all three films have in common is the centrality of a complex and strong woman facing up to (almost exclusively patriarchal) societal hostility. Kind of like a cross between Todd Haynes's _Carol_ (2015) and Daniel Kokotajlo's _Apostasy_ (2017), _Disobedience_ eschews melodrama, and is uninterested in presenting a binary story where faith is the Big Bad. Although it is certainly critical of the strictures that can result from a rigid application of _Halacha_ [Jewish religious laws] and/or a literal interpretation of the _Taryag Mitzvot_ [613 Commandments], the community itself is depicted respectfully, with the most representative Jewish character arguably the most sympathetic figure in the film. _Disobedience_ does feature a very graphic lesbian sex scene, but it's one of the most thematically justified, least exploitative sex scenes I can remember, crystallising many of Lelio's thematic concerns. Although things can be far too on the nose from time to time, Lelio's subtle and non-intrusive direction more than compensates for that, and overall, this is a fine film, both thought-provoking and moving.

The story opens in a synagogue in London as Krushka (the great Anton Lesser), the local Rav, (similar to a rabbi, except an _Halachic_ expert) delivers a sermon explaining that angels and demons are locked into their destinies, with only humanity "_free to choose_". This freedom, however, is both a privilege and a great burden, as it affords humanity the opportunity to disobey the edicts of _HaShem_ [lit. "The Name"; used to refer to God when discussing Him outside scripture]. However, before completing his sermon, Krushka keels over and dies. Meanwhile, in New York, Ronit (Rachel Weisz), his estranged and non-practising daughter gets word of his death. After getting drunk and having anonymous sex with a man in a toilet, Ronit heads back to England. At the home of her childhood friend, Dovid Kuperman (an extraordinary Alessandro Nivola), Krushka's understudy, Ronit quickly learns the community is not especially pleased to see her, as the shadow under which she left has not dissipated. Despite this, and although he wasn't expecting her, Dovid is happy to let Ronit stay with him and his wife, who, Ronit is stunned to learn, is her former best friend, Esti (Rachel McAdams). The film then plays out over the next few days, as the community prepares for Krushka's _levaya_ [funeral], as it becomes apparent that Ronit and Esti were once more than friends, which may, or may not, have had something to do with Ronit's departure and her estrangement from her father. However, the more time they spend in one another's company, the more their once-held passion for one another bubbles to the surface.

Thematically, _Disobedience_ is far more concerned with the clash of views that results from Ronit's return than it is with condemning the beliefs of the community _per se_. When she first arrives at Dovid's house, she instinctively reaches out to hug him, forgetting about _negiah_ [the forbidding of physical contact between men and women not related by blood, or married], and he immediately, although not unkindly, recoils. This tells us both how long she has been away, and how thoroughly she has rejected the doctrines of the faith. Later, there is an exceptionally awkward (but very funny) _Shabbat_ [Jewish day of rest] meal, where Ronit seems to take great delight in being as outrageous as possible, riling up the assembled guests with her progressive worldview. In a discussion about the role of women in society, for example, she points out that every time a woman gets married and takes her husband's surname, a part of that woman's history is erased. This kind of ideological conflict, however, is also found _within_ the characters themselves. Esti, for example, is torn between her desire for Ronit on the one hand, and her commitment to Dovid and her belief in their faith on the other. For her part, Ronit too internalises discord; although she has been estranged from him for many years, she is genuinely hurt to learn just how completely Krushka had divorced himself of her memory, seen most clearly when his obituary refers to him as "_sadly childless_".

Tellingly, during the _Shabbat_ dinner, Dovid tries to play peacekeeper, whilst a couple of cutaways to Esti show her smiling to herself as Ronit burrows under the skin of those present. This kind of delicate touch on Lelio's part can be seen throughout the film, with numerous wordless gestures allowing the actors to convey backstory in lieu of exposition. For example, after Ronit arrives, although Dovid recoils when she tries to hug him, and although when she tries to light up a cigarette in his kitchen, he asks her to smoke in the garden, he accompanies her outside, shielding the flame from the wind in a gesture both kind and intimate. Another excellent example is found later that night as Dovid and Esti prepare for bed, and Esti gently and playfully strokes his beard, suggesting her genuine affection for him.

On paper, the story might lend itself to a condemnation of the kind of social suffocation and emotional repression that can result from fundamentalism. Instead, however, the film spends time building a respectful, if not idealised, picture of the community's beliefs and practices. Although no-one is especially happy that Ronit is back, they are never openly hostile, the way Hasidic Jews, for example, might be. A key part of this respect is Dovid himself, played by Nivola (in an Oscar-worthy career-best performance) as an inherently decent and honourable man; when Ronit returns, he is the only one to extend her a genuine welcome. In a less nuanced film, Dovid would be a fire-and-brimstone obstacle to Ronit and Esti's happiness, a Roger Chillingworth-type personification of traditionalism and rigidity. Instead he is presented as someone who, like Esti, faces a difficult choice – that between his communal position and his faith on the one hand, and his genuine love of Esti and affection for Ronit on the other, his lifelong devotion to the _Tanakh_ [Hebrew Bible] conflicting with the modern day progressive sensibilities that come from living in a metropolis. Indeed, perhaps Dovid's most salient characteristic is conflict – when he tries to lay down the law to Esti regarding her conduct, his heart never seems in it; when he expresses disgust at her tryst with Ronit, he almost seems embarrassed to be reacting the way he is. This conflict is manifested aesthetically in a scene where Dovid is addressing the synagogue. Lelio films the scene in such a tight close-up, that every time Nivola moves even slightly off his mark, he goes out of focus. It's a brilliant example of content generating form, and is typical of Lelio's directorial lightness of touch.

However, for all that, the film never lets you forget that this is a community of _negiah_, where married women must wear a _sheitel_ [wig] in public, and where the genders are strictly divided at religious services. As Ronit and Esti discuss their sexuality, Esti points out that she and Dovid have sex every Friday night, "_as is expected_", and that the reason she was married to Dovid in the first place was that Krushka hoped "_marriage would cure_" her, a concept not a million miles away from homosexual conversion therapy. In this sense, although respectful of the community, even depicting some of the communal benefits of such a tight-knit group, the film does challenge some of the tenets of their belief system, particularly its rigid traditionalism and myopic sexism, both of which feel increasingly out of place in the early 21st-century. In this, _Disobedience_ fits very much into Lelio's _oeuvre_, with all three of his films dealing with repressive _milieus_ placing restrictions on women.

Obviously, a major theme throughout is sexuality. Much has been made of the sex scene between Ronit and Esti, with some critics accusing it of being little more than titillation at best, a graphic example of the male gaze at worst. However, this reading is to completely miss the point of the scene in relation to the narrative as a whole. There are actually two sex scenes in the film; one between Ronit and Esti, and the other between Esti and Dovid. And although they couldn't be more different, they also couldn't exist without one another, as the abandonment, lust, and sense of pressure being released when Esti is with Ronit contrasts sharply with the detached, formulaic, and passionless scene with Dovid; the two scenes explicitly comment on one another, each hinting at the meaning to be found in its counterpart. In this, they recall the four sex scenes in David Cronenberg's _A History of Violence_ (2005) and Abdellatif Kechiche's _La Vie d'Adèle – Chapitres 1 & 2_ (2013), two sets of two scenes which, again, comment upon and contextualise one another. The scene between Ronit and Esti is the physical manifestation of the characters' long-repressed desire for one another, a release of the yearning that has been building up for years. It's a wholly justified narrative moment, and a completely necessary beat for the two characters. It's not an aside or a piece of voyeuristic male fantasy, it's the centre of the whole film. Together, the two scenes represent Esti's binary choice – an unbridled and sexually fulfilling, but unstable relationship with Ronit, or a dutiful and dull, but respectful and secure relationship with Dovid.

If I had one major criticism, it would be that although Lelio's direction is extremely subtle, some of his and Lenkiewicz's writing choices are spectacularly on the nose. The opening sermon is a good example – a religious diatribe whose subject is mankind's freedom to choose, the concomitant ability to disobey, and the notion that freedom is impossible without sacrifice, in a film about these very same issues. Another example is that Dovid and his _yeshiva_ students are discussing the one book of the _Tanakh_ dealing with sexuality rather than spirituality, the _Song of Songs_, whilst Esti's secondary school students are studying adultery in _Othello_. The worst example of this, however, is found when Ronit and Esti go to Krushka's house and Ronit turns on the radio, which just so happens to be playing The Cure's "Lovesong", a song which perfectly encapsulates their situation ("_Whenever I'm alone with you/You make me feel like I am home again_"). It's not exactly subtle. I'm also not a massive fan of Matthew Herbert's score, with its jaunty use of woodwinds cutting against the ominous tone of the narrative.

These two issues aside though, this is an excellently crafted film. Once again examining female desire, issues of patriarchal oppression, and profound self-doubt, Lelio delivers a mature and considered meditation on the conflict between faith and sexuality. Eschewing the kinds of black and white criticism of secular isolationism as seen in films such as Sidney Lumet's _A Stranger Among Us_ (1992) or Boaz Yakin's _A Price Above Rubies_ (1998), Lelio respects the _milieu_ too much to cast it as the villain. Instead, there is an elegance to the way in which he depicts it. Equal parts sensual and spiritual, the lethargic pace and absence of any narrative fireworks will probably alienate some, especially those expecting a pseudo-porn movie, but for the rest of us, this is thoughtful and provocative cinema in the best sense of the term.

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