![]() ![]() In one great scene of the type of emotional acuity that is largely absent in the rest of the film, Mathilde’s father (Mathieu Amalric) commits his wife to a mental institution. After a particularly painful fantasy-world episode that ends with the mother and the daughter in the back of a police van, he resolves to take her somewhere where she can’t cause any more problems for his daughter. They wanders the grounds and he pauses to say goodbye. As he sets off towards his car, he turns and looks back at his ex-wife standing there by the doors of the asylum. His matter-of-fact facade slips and real emotion catches in his throat, only to be quickly brought under the kind of control that has characterized the character’s life with his wife. Moments of this kind are few and far between. When they come, Lvovsky is brilliant at capturing — and in her performance, exuding — a familial intimacy that is hard-earned yet rich in feeling. Otherwise, the film shifts in the direction of high fantasy, making a feint at something beyond the specifics of the world the filmmakers have so lovingly constructed. These dream sequences are seamlessly integrated and yet feel like another shift away from the lingering groundswell of feeling that rests under the surface of the film. Grade: C- “Tomorrow and Thereafter” was the opening night selection at the 2017. It is currently seeking U.S. Anderson’s upcoming book “Hey Mom” was inspired by playing Zach Galifianakis’ mother on the FX comedy, which just returned for its third season. The fact that Criss shared an ethnic background with Cunanan was serendipitous for the “American Crime Story” producers when casting the role. Screen Talk, episode 182: Who will spend money on big movies in Park City this year — and which ones will get left out in the cold? Screen Talk, episode 181: With the Golden Globes behind us and the DGA nominations arriving as the first Oscar votes are due, the state of the race is clearer than ever.
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March 2018
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