“The words written in the script are really just for my reference. I never show the actors the screenplay. I find I always get better results with the dialogue if we do some improvisation and run through the scene a few times.”
This year’s Competition features a number of burgeoning talents as well as notable critical darlings, resulting in an uncommonly stimulating first week. On Sieranevada, Staying Vertical, Toni Erdmann, Slack Bay, Paterson.
The quasi-autobiographical nature of Monteiro’s late work comes to a conscious conclusion with Come and Go, which unfolds like a retrospective of its lead character’s—and, by extension, its director’s—various conquests and convictions, before summoning death and ending in a kind of aural benediction.
Based on the director’s upbringing amidst the tumultuous late-1970s occupation of Phnom Penh by Pol Pot and his Khmer Rouge communist militia, the film is an intimately detailed account of one family’s struggle to survive the brutality of a movement whose reach extended well into every facet of Cambodian society.
Child’s Pose opens mid-conversation as a mother discusses her son’s personal life with another middle-aged woman sitting next to her in an anonymous room. The setting seems muted, the surroundings drab and not very homey—all in all not an unfamiliar setup for a contemporary Romanian film.