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The first thing to say about Good One is that it's very quiet—an indie film about a father-daughter camping trip in the Catskills that you breathe in like a full breath of forest air. The second is that the film's lead performances say something very loud. With surprising confidence, newcomer Lily Collias plays Sam, a 17-year-old girl who mostly endures the company of her father, Chris (James Le Gros), and his best friend, Matt (Danny McCarthy, also along for the camping trip)—two middle-aged men who banter while hiking, stressed about their careers and the state of their disastrous marriages. Sam is the good guy in this triangle, a humble teenager who endures their teasing, cooks them dinner on a camp stove, and embodies all the contradictions of a coming-of-age person who still loves her father but is ready to leave him behind. Good One, a feature film written and directed by India Donaldson, is reminiscent of Kelly Reichardt's filmmaking style with its almost plotless naturalism—until the entire story hinges on a single act of bad judgment by one of the men with heartbreaking power. —TA
It's hard to remember the last time I saw a film as unflinching as Coralie Fargeat's fearless follow-up to the colorful action thriller Revenge—the mind-bending tale of an actress (a career-best Demi Moore) thought to be past her prime who injects her body with a mysterious substance that promises to unleash a more perfect version of herself. The scene where she falls to the bathroom floor, her spine splits, and a younger self (a sweet and then demonic Margaret Qualley) emerges from within her. What happens next inspired gasps, cheers, laughter, and horrified screams alike at the film's Cannes premiere—and it deservedly walked away from the festival with the best screenplay award. —Radhika Seth
This true-life courtroom drama stole the show at Cannes in 2023, when there were suddenly so many excellent French films set in court: Alice Diop’s Saint Omer, the Oscar-winning Anatomy of a Fall, and Cédric Kahn’s account of the Paris trial of Pierre Goldman, a left-wing fanatic. American audiences have had to wait until now to see it, but it’s worth seeking out. Goldman is the kind of intellectual radical France specializes in—and is portrayed with such charm by Arieh Worthalter, glaring, gesticulating, and speaking from the podium. No, he insists, he didn’t kill two women during a Paris pharmacy robbery as he’s been charged, and he won’t make his trial more dignified by cooperating more with his defense. Instead, he rages against bourgeois norms and unsettles the viewer as much as he brings the film to life. The film is all talk and debate—limited to the trial—but it is still very engaging.—TA
