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The locals, led by hale fellow Logan (the redoubtable character actor Tony Curran), are troubled by the community’s economic misfortunes and keen to draw Marcus and his imagined oodles of capital into shoring up the area financially. Photograph: Anne Binckebanck / NetflixĪmongthe more thoughtful flourishes here is the way Palmer plays with the notion of debt and investment. Jack Lowden and Martin McCann in Calibre. Up for a bit of mock-macho manoeuvres before the onslaught of parenthood, Vaughn agrees to go on a deerstalking trip in the Highlands with his friend Marcus (Michael Fassbender-lookey-likey Martin McCann), a chum from the boys’ boarding school days who now makes serious bank in the financial sector. In the foundational first section, we meet Vaughn (Lowden), a nice regular guy living in a smart street near the park in Glasgow, who is about to become a father with his partner (Olivia Morgan). That’s a point worth stressing should you consider watching this on Netflix, given on that platform it’s so much easier to skip on to something else if the opening 10 minutes of a film fails to grab you. Just when you might expect Palmer to break out the fake blood, the film goes unexpectedly, and quite literally quiet, after a somewhat plodding first third. It is sold internationally by Playtime and will be distributed in France by Ad Vitam and in Belgium by O’Brother Distribution.Anchored by a brace of range-flaunting performances from its two leads Jack Lowden and Martin McCann, Calibre evolves unexpectedly into a moral puzzle about the limits of friendship and forgiveness.
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Nobody Has to Know was produced by Versus Production (Belgium) and co-produced by Prime Time (Belgium), Barry Crerar (UK) and Playtime (France).
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This romanticism is all the more touching because it is the privilege of two dented souls that society would have happily classified as old maid or old boy, as if they were condemned to live after love. If we find the art of pictorial composition and the melancholy that we already encountered in the filmmaker's previous films, we also discover an infinite delicacy and a romanticism that is nicely claimed. Millie will not only have won love, she will also have won the freedom to become who she dreamed of being, the possibility of allowing herself to be happy. The kind that changes a loved one forever. With his new film Nobody Has to Know, presented at the Toronto International Film Festival in the Contemporary World Cinema section, the Belgian filmmaker attempts for the first time a special kind of double exercise which he succeeds in doing with tact and accuracy, offering both a touching portrait of a woman and a love story, neither really a drama nor a romantic comedy, just a truly beautiful love story. Phil will eventually regain his memory, and what will he think of the memories she has invented for him, of the stories she has told him? Millie knows that she is trapped in a lie from which she would like to extricate herself, but she is not ready to give up the few bits of love that she gets, whether for a few more weeks or days. However, this newfound happiness is far from being serene. Millie will especially tell him that they were once lovers, but that given his illness, she would not want to re-impose this relationship on him, which must be anything but forced.īut why resist love when it comes at you without warning? Phil will let himself be carried away by this modest but nonetheless beautiful story, by these sweet feelings, while Millie will taste the happiness of living together, but also of gradually being considered differently by society. She will take advantage of his sudden (and probably temporary) amnesia to help him rewrite the last chapters of his life, reinvent his habits, and recreate memories. Millie will take charge of Phil's return home with the discretion that characterises her. Maybe they could live alone, but together? Millie sees an unhoped-for opportunity and decides to seize it, perhaps her last chance. One day, Phil suffers a stroke and wakes up having lost his memory.