Marcus McPhillips

SPOILERS ALERT Past Lives is a Korean-American film, focused on childhood nearly-sweethearts Na Young (later, Nora) and Hae Sung. The film’s beauty comes from how simply it portrays the complicated emotions of frustrated love. It’s simply structured – a classic three-act play, each act’s passing and coming narrated by a ’12 years later’ screenwipe. The protagonists’ love for each other is also simple and unquestionable. It is unchallenged by their families, who orchestrate an adorable playdate; or in fact by Nora’s husband, Arthur, who seems to admire the young love the two old schoolfriends have together. Hae Sung’s earnest love for Na Young, even when she asks for separation, also means Past Lives has refreshingly little of the male rage that often characterises similarly themed Western films; for instance, in 2004's The Notebook, Ryan Gosling’s Noah expresses a wide range of emotions, including rage and contempt towards Rachel McAdams’ Allie. These emotions are absent from Past Lives' emotionally intelligent and understanding leads. That the audience is left in little doubt that these are uncomplicatedly good people simply dealing with complicated love adds extra oomph to the denouement, crescendoing into the Best Metaphorical Kiss scene ever seen while Nora and Hae Sung wait for an uber. A truly uncomplicated five stars.

SPOILERS Split across 14 half-hour episodes 'One Day' is a beautiful exploration of time. Meeting the lead characters at the point of graduation, they talk openly of future plans (the faraway land of 40) and are surrounded by friends and family. Encouraged by the 30 minute run times, our house watched 2 a night - and when you move life forward like that by 2 years at a time, it brings home the paradox of youth - both the intoxicatingly neverending-ness of it, while also feeling like it passes so quick. From the beginning, the show is an exercise in missed moments; 10 minutes in, Dexter is chastising Emma for not having introduced herself before their graduation. And this runs on as they both end up in relationships with others, change jobs, move countries. While they end up together, the director cleverly speeds the pacing through (rather than one day / year per episode, it is more like 2 or 3). This means that we get relatively little time together with them, before the tragic denouement begins. The emotional payoff is worth it - the tears in my flat were on a par with the end of Schindler's List. A confronting reminder that one day, there will not be another chance to tell them that you love them.

!!!SPOILER ALERT!!! Within the first 15 minutes of 'The Killers of the Flower Moon' beginning, you know it is a worthy and important film. However, by then, you also know the core trajectory of events that will unfold over the remaining 3 hours. The lack of surprise contained within a film of this length suggests that Scorsese's principal objective is to force the audience to dwell on the heinous actions of the white characters; much like being subject to one of the FBI's interrogation tactics seen in the denouement. While this narrative predictability ensures everyone will understand the film's core message, it arguably also will prevent the film from ascending to the pantheon of the all-time greats. Other flaws, are the underdevelopment of characters and their motives, particularly among the Osage. Key questions such as "why do the Osage women keep marrying nakedly money grabbing white men?" are barely answered except for innuendos around looks and sex drives. An alternative direction for this film could have been to aim for a 'Usual Suspects' finale, where the audience only realises that Ernest (Di Caprio) is implicated in the murders at the same time as Mollie realises. Instead, we spend most of the scenes between Mollie and Ernest puzzled by what she sees in this sickly slimeball, and hoping she can hold on until the cavalry arrives. Overall, a worthy film worth watching - but don't clear your diary. 7/10.