April 29, 2024

2.3.24 Full Time isn’t a scathing critique of capitalist life in Paris, nor is it overtly critical of the strikes, but it’s still an impressive drama with an Uncut Gems-esque energy which illuminates the lives of women experiencing ‘the triple shift’. As Julie, Laure Calamy has a youthful vibrancy and delivers great bursts of energy portraying a divorced yet academically proficient mom of two. Life has got her down in terms of the combination of work, kids, financial precariousness, and not having enough hours in the day to get things done. But she hangs in there, just barely. It’s such an authentic and relatable to anyone balancing a demanding career and with their true callings that I was genuinely surprised to learn it wasn’t directed by a woman. Laure Calamy’s performance fully immerses us in Julie’s interior world with each weary sigh and slump of the shoulders, conveying her sense of being stretched too thin. Yet Julie remains indomitable, as we see when she assembles a trampoline late into the night before her son’s birthday. Rather than manufacturing some melodramatic crisis, Eric Gravel’s controlled script wisely recognises that the everyday grind is ample material from dramatic storytelling without having to resort to conflict or violence. Full Time avoids pretences, instead achieving a potent realism by unflinchingly depicting Julie’s taxing reality. Calamy’s remarkably unvarnished performance grounds Gravel’s understated approach, the absence of overwrought dramatics allowing the film’s impact to resonate with squirm-inducing familiarity – yet we can’t help but root for Julie to emerge victorious from each 24-hour gauntlet. It’s a modest film that echoes the untold struggles and weariness of countless modern mothers.

14.3.24 The nostalgia of youth; the crippling awkwardness of growing up. Are You There God? It’s Me, Margaret captures it all in a heartwarming and relatable way which impressed me greatly. It’s a coming-of-age tale that stands out amongst recent similar releases, thanks to its honest and non-condescending portrayal of the trials and tribulations of being a preteen. One of the strengths of the film is how it treats its young characters with the same respect as the adults. It acknowledges that growing up involves navigating the complexities of all stages of life, and the film does an excellent job of showing these transitions. The talented young actors, led by Abby Ryder Fortson as Margaret (whom I still remember as the gap-toothed daughter of Scott Lang in Ant-Man and The Wasp), bring an authentic vulnerability and innocence to their roles, making their performances all the more endearing. Rachel McAdams, Benny Safdie, and Kathy Bates deliver equally impressive performances as Margaret’s parents and Jewish grandmother, adding heft to the family dynamics that shape Margaret’s realistic journey. The film also tackles taboo subjects head-on, refusing to shy away from the realities of puberty and the confusion that comes with it. By addressing these issues openly, Are You There God helps to normalise and destigmatise the experiences that every young person goes through. The family discussions regarding atheism and the ills of organised religion are some of the most meaningful explorations of these topics that I’ve seen on the big screen in years. It’s also refreshing to see a film that doesn’t sexualise or jade its young characters, instead allowing them to be the goofy, awkward kids they are. While the film is undoubtedly aimed at a younger, female audience, there’s a broader quality to its themes that resonates with viewers of all ages. As adults, watching Margaret’s journey can transport us back to our awkward preteen years, reminding us of the challenges we faced and the lessons we learnt. For women, especially those who have gone through menopause, the film may strike an even deeper chord, as it echoes the sense of uncertainty and change that comes with each new stage of life. Overall, Are You There God celebrates the messiness and magic of growing up whilst warming the hearts of audiences regardless of their religion or gender, speaking personally of course. Hopefully something I can rewatch one day with a daughter of my own.