Nocturama

Even though it's quite clear from reading the premise that the film is surely not for everyone, that is still an understatement. The filmmaking here is incredibly detached of emotion, cold, and very, very clinical. That's part of the genius of it. A film like this needs to be executed this way, or else wavering too far into one side would be controversial, either being labeled as a film too forgiving of its protagonists and wanting us to sympathize with them, or portraying them as completely evil and not adding enough layers. In that respect the film works. It is mostly without a musical score, and scenes play out in long stretches in ways sure to infuriate many, but also impressive in their commitment. I think it's a fascinating, powerful film, but not an easy one to like.

I love the Metacritic summary for „Nocturama": some young folks, tired of the society they're living in, plan a bomb attack over Paris before to take shelter for a night in a shopping center... So simple, so elegant. Unfortunately, I can't say I loved the movie itself. „Nocturama" is artsy in a bad way, all high concept and lacking in every other aspect. Also, at 130 minutes, there's nearly not enough going on to justify the length. Sure, it's a promising material for short story/movie – a psychological portrayal of how terrorism is born. On paper, any summary of "Nocturama" would seem rather captivating... but, sadly, the result is frankly dull and lifeless. The screenwriter-director Bertrand Bonello's approach to storytelling is alienating (the characters are emotionally distant from the viewer and each other), and he likes to stretch many scenes, however empty, so long that it tests the endurance of the viewer. Some filmmakers use this conceptual aloofness and emptiness very effectively, such as Jim Jarmusch, who can make the most trivial on screen actions or details seem meaningful. Sadly, Bonello is not one of those filmmakers. The emotional distance makes sense as (part of the) general message of „Nocturama" – modern life has made us cold and empty – but constantly testing our endurance without payoff does not. At least not to me.

"Nocturama" emerges from the shadows with a 6/10 rating, finding itself in the "wasn't bad" territory. This enigmatic and unsettling film showcases some commendable strengths, particularly in its audacious exploration of societal discontent and the consequences of rebellion. The young cast delivers convincing performances, capturing the uncertainty and tension that permeates the narrative. Film editing creates a sense of disorientation that mirrors the characters' disquieting journey. However, the film's weakness lies in its elusiveness; it doesn't offer easy answers or clear-cut resolutions, leaving viewers to grapple with the ambiguity of its message. The music, or lack thereof, plays a crucial role in amplifying the film's eerie atmosphere, while the cinematography masterfully captures the stark beauty of Paris. "Nocturama" isn't for everyone, but for those willing to delve into its shadowy depths, it offers a thought-provoking exploration of the disquiet that simmers beneath the surface of modern society.

Violence is not the answer. Something that many have been taught, but these kids either never heard of this or didn't listen. So while they plan and execute their "plan", we get a weird mix in the aftermath. Mostly we see them "waiting it out". There are glimpses of (social) media reports and how what they did affected people. But overall this is something that feels cold and meant to be detaching from the main characters.

As much as they are detached from life. It doesn't really give us too much insight into the mindset though, there are too many characters for that. Unless you are able to read between the silences (and there are quite a few of them throughout the movie). But while it is a slow movie, it also has glimpses of violence. Something you have to be aware of, just in case you are appaled by it or can't handle it

The movie is clearly split and its audience will likely be as well. The movie may desperately want to be provocative, thought it tries to down play both desperation and provocation and replace them with style.

I went in not knowing much and the tense action style of the first half of the film pulls one to the seat's edge.

I know the director has said the film is more about insurrection than terrorism, but I'm not sure I agree. That said I think it succeeds in portraying the emotional nature of terrorism, both for us aghast as "viewers" (on film and sadly in life) but more importanty for the terrorists themselves.

The director stridently avoids any sort of manifesto, and gathers a United Colors of Benetton cast. Youth is their uniting aspect, there are vague threads of rebellion for sexuality, for economic repression, for immigrant intolerance - but I think their motivations are intentionally vague. Again an accent on the emotion.

And an accent on style - the youngest member of the gang wearing his golden mask feels eerie and mythic. The whole second half of the film, staged in an empty mall as the nocturama for us to watch creatures more than children/people. It almost felt like a Brazen Bull scenario....polished, sleek and artful. But it may be more than just a pretty and warm place to hide out.

Surrounded by screens, as youth these days are, they try to resist watching themselves, but that is difficult. They play house, they play music, they play at rebellion. But maybe that is where rebellion, insurrection and terrorism come from - half baked ideas that catch fire. It's a game first that somehow becomes real.

Seems like the cast was comprised of non-actors or actors that the director worked hard to make into ciphers. Weirdly wooden while brimming with emotion. They stand in stark contrast to Adele Haenel, her face says more in silence than the other actors say with lines through-out. She is supposed to be the audience's touch point, a reluctant sense of this had to happen...even if we don't track the Jiri coefficient...in fact we're not sure why some anti-capitalistic or sense of human unkindness it had to happen, didn't it?

Again I think intentionally stepping far away from a rationale. The film wants to think less and act boldly. The setting of the second half of the film is arguably the biggest star, certainly shot in loving detail.

For what it's worth that image of the statue engulfed in flames, felt like an homage to something old - was it from "I, Claudius" - the movie features a lengthy lip-synching scene. More play-acting, play driving a tiny care. Again that young couple playing house, he in particular is perfectly frustrating as a leader who falls behind, who makes mistake after mistake.

Anyways, the movie has its moments and for me I found worked better than "Triangle of Sadness" but neither film is really rewarding.

How could this be? A big budget film that wants to blow up the big budget businesses?

Of course maybe I am too addicted to the status quo at this point, a real concern, but burn it all, blow it all up - even in my younger daze felt too childish. Thinking too much, just give this a 7, it's got a good beat and younger people can dance to its lack of coherent lyrics.

All of the music and more than a couple of dance scenes.... I'm left with a sense of AgitPop.