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**Fair Play continues to crank the tension higher and higher, with paranoia, fear, and betrayal exploding in a stressful and well-done finale.** I saw Fair Play at Sundance 2023 in a crowd of cinema enthusiasts, making the theater experience electric and engaging! While Fair Play isn't my typical movie taste, it was exceptionally well done, with tension and stress building consistently from start to finish and exploding into all-out insanity and paranoia in the film's final act. My heart was pounding as the selfishness and jealousy of these characters devolved into pure hatred and disdain. Once the credits rolled, I finally felt like I could breathe for the first time in an hour! Domont did so much with so little, mastering suspense and keeping the audience on edge. With such arrogant and self-centered characters, it is hard to "enjoy" the film, but the craft and skill are undeniable, and it's no surprise why it was so well received at Sundance and scooped up so quickly by Netflix.
It’s amazing how one film can be predictable, implausible and preposterous all at the same time, but writer-director Chloe Domont’s debut feature manages to pull off this trifecta of lamentable attributes with remarkable ease. This alleged psychological thriller goes from bad to worse as its plot hole-filled story degenerates from a boring, clandestine office romance into an over-the-top envy-driven battle of egos when one partner unexpectedly gets promoted over the other at a prestigious Wall Street firm. The way in which this unfolds, though, is largely laughable, despite an underlying message that has some noteworthy merit (even if it’s a bit trite in this day and age). The picture might be more worth watching if the two protagonists (Phoebe Dynevor, Alden Ehrenreich) weren’t so inherently deplorable and portrayed with some of the hammiest on-screen acting I’ve seen in a long time. This is all made worse by one of the most awful scripts I’ve come across in a while, with almost as much tawdry, needlessly foul language since “The Wolf of Wall Street” (2013). Put these qualities together and you’ve got an absolute work of utter trash that makes the prime time soap operas of the 1980s look like epic storytelling. Indeed, as far as how this one plays, all I can say is “No fair.”
"Emily" (Phoebe Dynevor) and fiancé "Luke" (Alden Ehrenreich) are a typically happy, professional, couple, recently engage and well loved up. Gossip is going around the office that "Luke" is destined for a promotion that will mean loads more cash for the pair and she seems delighted for him. Well, boss "Campbell" (Eddie Marsan) has other plans as he decides to give the job to her! Is he delighted? Well outwardly yes, but inwardly...? She is also uncertain. Not of her ability to do her new job, but of how to avoid bruising his increasingly obviously delicate ego. What now ensues is a rather fat-fetched eggshell dance that sees their relationship put under enormous pressure? Can it survive? Well, frankly I didn't care. The whole story seems contrived to create as much tension and distrust amongst the couple who at one stage are about to be married and at the next, well they might not cross the road to chat with each other. It takes a swipe at the greasy pole and at the whole corporate "getting-on" ethos, but in such a linear and unimaginative fashion. Way too many stereotypical attitudes and platitudes and by the end I was really quite uninterested in who got what, if anything, from this rather pedestrian and over-scripted melodrama. Sorry, perhaps I just wasn't in the mood - but this did nothing for me.
FULL SPOILER-FREE REVIEW @ https://www.firstshowing.net/2023/review-chloe-domonts-fair-play-poignantly-tackles-gender-politics/ "Fair Play is an emotionally charged exploration of love, ambition, and gender dynamics. Chloe Domont thoughtfully addresses these themes, highlighting biases faced by successful women, the personal challenges of couples working in the same space, and the inevitable vulnerabilities that arise from these scenarios. The dedicated performances from Phoebe Dyvenor and Alden Ehrenreich make it a gripping viewing experience, emphasizing the film's thought-provoking messages about gender politics and seeking equal recognition based on merit rather than gender. The dramatic conclusion warrants heated debate…" Rating: A-
A story about Hannah (Anna Åström), a young woman who is very shy on the outside, but whose inner world is deep, exciting and vibrant. One day, Hannah notices a house that looks as if it is cut out from a hip home decorating magazine. Intrigued, she decides to break in and try to find out who owns this emotionless beautiful home equipped with high-end technology. While at first Hannah enjoys the luxury, she starts to notice on each visit that Max (Stipe Erceg), the owner of the house, is excessively obsessed with his physical possessions. He has spent a lot of time to make sure that everything external meets the society’s standards that he has forgotten himself. The things that he himself likes, the activities that make him smile, and the people who make him happy. Having realised that, Hannah starts leaving hints for Max, so as to shake him out of the the everyday emptiness and make him focus on what is important.
Seven years after the death of his wife, widower Shigeharu seeks advice on how to find a new wife from a colleague. Taking advantage of their position as a film company, they stage an audition. Interviewing a series of women, Shigeharu is enchanted by the quiet Asami. But soon things take a twisted turn as Asami isn’t what she seems to be.
In 1965, a young woman with dreams of becoming a writer has a son at the age of 15 and struggles to make things work with the drug-addicted father.
Set in a world with memory implants, Alan Hakman is a 'cutter'—someone with the power of final edit over people's recorded histories—but his latest assignment puts him in great danger.
A strong-willed peasant girl is sent by her father to the estate of some local aristocrats to capitalize on a rumor that their families are from the same line, but is left traumatised from her experiences.
A fairy tale love-story about pre-med student Paige who falls in love with a Danish Prince "Eddie" who refused to follow the traditions of his parents and has come to the US to quench his thirst for rebellion. Paige and Edward come from two different worlds, but there is an undeniable attraction between them.
Alex, an intersexed 15-year-old, is living as a girl, but she and her family begin to wonder whether she's emotionally a boy when another teenager's sexual advances bring the issue to a head. As Alex faces a final decision regarding her gender, she meets both hostility and compassion.
Eleven-year-old petty criminal Maroa lives with her violent grandmother Brigida in Caracas. After her boyfriend Carlos is involved in a shooting, Maroa is arrested and sent to a school where Joaquin conducts the youth orchestra, and he asks the naturally talented Maroa to join. Days now revolve around the classes that Joaquin, the shy and unconventional teacher, gives her. He is immediately interested in this talented young girl, who lacks all notion of discipline. Joaquin, the only person to offer hope in the midst of her rejection, finds that through Maroa, his world has also changed forever.
Several years after leaving the orphanage, to which her father never returned for her, Gabrielle Chanel finds herself working in a provincial bar. She's both a seamstress for the performers and a singer, earning the nickname Coco from the song she sings nightly with her sister. A liaison with Baron Balsan gives her an entree into French society and a chance to develop her gift for designing.
Elling has lived with his mother all his life. Mom is the practical one, while Elling ponders the more theoretical aspects of life. He spends his time in their apartment reading books and looking at the neighbours through the living room window. Elling doesn't seem to need to be around others like most people. That's why Elling is less than enthusiastic when his mother suddenly decides to take her son on a beach vacation to Spain. Reluctantly, Elling agrees. After all, a lady at her age needs a good man by her side. But what Elling refuses to realize is that Mom is not only old, but also sick. Very sick. On her last vacation she tries to get Elling to see that life is bigger than their living room.
