I had the pleasure of recieving a press pass to the Thessaloniki International Film Festival (TIFF). In addition to experiencing panels, interviews and press conferences, this granted me free access to any and all screenings at the festival.
Receiving this pass was like winning the lottery for me. I have great interest in films as an art form and already invest my freetime into this passion. But there is something extraordinary and exhilerating about experiencing stories on the big screen, surrounded by people with the same love for movies. I am grateful for every movie I got to experience. No matter the flaws, there is always something to appreciate.
A lot of the movies at TIFF are yet to be released internationally or you may spot them in the program of your local movie theatre soon. Unfortunately, the average movie enjoyer won’t be able to experience them without a charge. Especially since everything keeps getting more expensive these days, paying over 10 euros for a movie that you do not fully enjoy takes away from the appreciation for cinema. So I decided to put together an evaluation of the 15 movies I got to watch for free, based on whether you should spend your hard-earned money on it, to ensure that your experience at the movies will be as wonderful as mine. Many of these make for a fun viewing experience, while you might wait for others to be released on streaming platforms. Some made it onto my list of the best movies of 2024 and I marked the ones I recommend you dearly.
Presence
The first few minutes of this movie had me overly excited. The directing and camerawork are incredibly unique, we see the world through the eyes of a ghost or „presence“, haunting a broken family. The camera sways as if you are floating through the room, only allowing you to see through one pair of eyes. The tension in this movie comes not from the supernatural aspect, but from the strained relationships of the troubled characters. These relationships are without a doubt interesting to explore, and the movie diverges from the usual cinematic experience by making you feel like you are a helpless spectator standing at the sidelines of it all. Without noticing your presence, the family starts revealing their true faces in front of you. Many secrets are hinted at or uncovered. The plot thickens once the daughter builds a relationship with a troubled young man.
The movie has a lot to offer if you focus solely on these relationships and consider it a family drama. Unfortunately, Presence was branded as and attempts to embody a horror movie. The movie abandons all these relationships for an abrupt climax and plot twist, leaving you unfulfilled and with many open questions regarding the family dynamics. The action sequence that the movie indulges instead is incredibly underwhelming, qualifying more as a mediocre thriller than horror.
While it is captivating to experience this unique directing on the big screen, the overall viewing experience is disappointing. The movie simply does not live up to its potential and loses its charm at the halfway point. I would regret spending money on a ticket to this movie, though I do believe that it will gain much attention when it comes out on streaming services. You should try and give it a chance then, especially if you are interested in the art of directing and camerawork.
Cuckoo ♡
Before the screening of this movie started, the producer came out to say a few words, and went on to promise us that we would be entertained. It is safe to say that the movie lives up to this promise, but provides very little if you are looking for more than entertainment.
Cuckoo offers a fun, original premise, while being reminiscent of classic horror films. The movie brings a breath of fresh air to the common horror setting of a run-down hotel. The protagonist, Gretchen, finds herself isolated and unloved after moving to a resort in the German Alps, accompanying her distant father and his new family. In classic horror movie fashion, strange things begin happening as we face a monster with an unknown origin and intention.
Up until the very last moments, the horror is reliant on mystery and atmosphere with an evil that cannot be fully identified. It draws you in through captivating, slow paced scenes with experimental cinematography, only to suddenly lose this focus and morph into a sci-fi thriller, or a buddy-cop mystery, or is it a family drama after all? This movie is, much like the teenage girl it portrays, going through an identity crisis, cramming in too many plotlines, then clumsily trying to resolve everything and overexplaining itself at the very end. I did not dislike the final reveal of the monster; I appreciated the originality of the concept. However, if you were drawn to the film for its mysterious atmosphere, I can see why it might be disappointing.
The horror and action sequences were thrilling nonetheless, and it is a very enjoyable watch if you appreciate horror movies with atmospherical directing and are not bothered by an incohesive narrative structure. This year has been disappointing for me regarding horror movies and I appreciate Cuckoo for honoring the intentions of horror film classics: horrifying yet thrilling entertainment with disturbing monsters and eerie imagery.
Heretic
This movie had an infectious energy to me, with Hugh Grant utilizing his comedic experience playing an entirely original, extravagant character that makes for one of the most interesting horror film villains I have seen. This energy drew me in so much that I barely noticed the disappointing themes that started to emerge, leading up to a cheap, fad last act that took me by surprise.
In Heretic, two Mormon missionaries enter a stranger’s house with the intention of converting him to their religion. The initially curious stranger reveals throughout their conversation that he might know a lot more about Mormonism than expected. He then demonstrates the extent of his theological curiosity in a series of sadistic mind games. The two satirically portrayed fronts of this movie – pseudo-intellectual atheism and gullible Mormonism – clash in a fight of impressive theological knowledge and depth. Shots are fired equally at both sides of the argument, so the creators’ stance on religion remains unclear. The plot catches your attention with its originality, wit and relevance.
While the creators seemed to have a very clear vision for the distinctive premise, it appeared as if they did not know where to go from that point. Regarding the horror aspect, the film shocks you with an unexplainable, sinister phenomenon that leaves your mind racing with questions. What does this mean in the context of the worldbuilding? In the context of a philosophical message? The final reveal answers none of these questions and instead offers a groundless, unsatisfying plot twist that negates the complexity of the original premise and leaves you feeling cheated. I do still think that this movie is worth watching in the cinema, due to its appealing, energetic nature, but be prepared for a frustrating ending that might make you want your money back.
Young Hearts
This movie blesses you with a hopeful iteration of the queer coming of age movie. While it is reminiscent of the Oscar nominated tradegy Close, Young Hearts takes a simpler, but nonetheless moving approach to the boundary-breaking relationship of two young boys. If you watched and enjoyed Close and are still heartbroken by the ending, this movie might bring you some peace of mind.
The main character of Young Hearts is a 14-year-old boy, who starts feeling conflicted about his identity when he falls for his new neighbor. The movie pays a lot of attention developing the relationship between the two boys, incorporating a multitude of authentic moments that show the insecurity and fragility of that age. You gain a deep understanding of the social environment, and are perhaps reminded of your experiences in middle school. While this exposition is valuable, it is a bit long, with the plot moving forward achingly slowly for the first part of the film.
But when it comes to the tension finally resolving, Young Hearts poignantly shows the hardships and societal pressures queer kids face, even when living in a seemingly supportive environment. The main character’s scenes with his family are especially moving and are bound to make you cry in an entirely different way than Close did.
This movie is an ode to first love and will touch you with its beautiful imagery, striking acting, and hopeful message.
Honeymoon ♡
Honeymoon is a very powerful movie, drawing attention to an underrepresented narrative. The movie is set and filmed in Ukraine, displaying the Russian invasion in 2022. Instead of showing the violence outside, Honeymoon recludes into homelife, demonstrating the horror of having all sense of safety stripped away from you, even in the comfort of your own home.
In Honeymoon a young, passionate couple moves into their new apartment, but before they can even unpack their things, they are surprised by the sound of bombs going off. After missing the window to flee the country, the couple finds themselves under Russian occupation. Not unlike in a horror movie, they have to avoid revealing their presence at any cost. We, the viewers, are trapped inside with them, facing an invisible horror while being confined to their small living space. While none of it is shown directly, the inhumane cruelty of the Russian invaders is alluded to through a harrowing application of sound design and directing.
This intimacy is an unconventional approach to displaying war and it touches you in entirely new ways. The two characters are at the center of the movie as they reflect on the way their sense of identity, purpose and love are changing while their life crumbles around them. Inspired by the story of a real-life couple, as well as many similar realities in Ukrainian homes, the characters and the story feel incredibly lifelike. This is only supported by the outstanding acting.
This movie was deeply moving and in that sense an important story to tell, as most of us are fortunate enough never to endure such situations, that are heartbreaking even when we witness them only through videos.
Homegrown
Homegrown sticks out from the rest of the movies at the festival, as it isn’t fictional, but instead a documentary about the attack on the Capitol that was staged by Trump supporters in January 2021. The documentary was screened on the night of the presidential election in the United States, so the reason for the genre break may have been the movies relevance.
The movie is an honest, detailed observation of Donald Trumps supporters, giving us an insight into the reasons and ideology behind committing this crime. The documentary closely follows the lives of three Trump supporters during the presidential campaign and up to the 2021 insurrection. While sharing the same beliefs, the men come from very different backgrounds, which effectively shows the different motivations and mindsets that stand behind the movement.
It is a fascinating but terrifying exploration of delusion, juvenile disorderliness and mob mentality. This was, especially paired with the anxiety of election night, scarier than any of the horror films I watched at the festival. Homegrown is definitely an interesting watch for all Europeans who are currently asking themselves: Why would people do this?
Toxic
Toxic focuses more on crafting a feeling than a narrative and therefore might not be appealing for everyone. During the screening I was reminded many times of the 2003 coming of age movie Thirteen. In both stories, a young teenager is corrupted by a new, more advanced friend of the same age as she gets introduced to sex, drugs and illegal activity. But Thirteen is missing one key character of this unusual movie, which is the setting of a run-down Lithuanian village. The environment is a motivating factor for both girls and explored in depth through the captivating cinematography.
The two girls in the center of the story find hope in this desolate place and aspire to leave it in any way possible. With absent parental figures, they prematurely try to experience adulthood and experiment with drugs, boys and money. Hoping to achieve their big dreams, they join a scam modeling school that drains their money and self-esteem.
The movie successfully and authentically portraits the fragility of that age, addressing troubling issues such as Anorexia, ableism and sexual exploitation.
While the movie is thoroughly slow-paced, the emotional stakes are gripping and you will not experience boredom. I think everyone can find a piece of their angsty, thirteen-year-old self in this movie and enjoy it if they are interested in deeply delving into that period again.
I saw the TV glow ♡
I have been a fan of this film since before it even came out. From the soundtrack to the genre and the actors, this project was exactly in my niche, yet it still managed to exceed my very high expectations when I finally watched it. This movie is incredibly personal to me, mirroring many things that are dear to me and that I know about myself.
Branded as a horror movie, I saw the TV glow confuses many viewers with its unconventional interpretation of horror, which can most suffieciently be described as identity horror. The two main characters are isolated, unsatisfied teenagers who bond over and find comfort in the surreal young adult show “The Pink Opaque”. Over time, the lines between reality and fiction start to blur and the two of them start to question their sense of identity and reality. With its beautiful, unique and experimental imagery and soundtrack, the movie infects you with the harrowing sense of discomfort and dissociation that the characters are experiencing. Justice Smith especially gives the performance of a lifetime in this, bringing gripping, terrifying performances of panic and uneasiness to the screen. It incorporates nostalgic themes from the late 90s’ and the aesthetics and design make the film feel like a feverish nightmare you may have had as a kid in that time period.
I understand why this movie might not be appealing to everyone, especially since the branding as a horror movie may be a bit misleading. The horrifying part of I Saw The TV Glow is not the monsters, but the disturbing feeling that you are not living your true self, forced to merely watch your life pass by. This is a movie for all the kids who felt unseen and disjointed from reality and therefore preferred escaping into books or television screens.
It is genuinely amusing, reading the reviews for this film that were written by middle aged journalists, who do not even dare to utter the word transgender. This film surpasses the criteria of a trans-allegory with its abundantly clear themes and plot points of gender dysphoria and transitioning.
But I think anyone who has ever struggled with their identity can find themselves in this movie to some extent. While it does not have a happy ending, it does have a hopeful and motivating effect on the viewer. I would pay to watch this movie over and over and still mourn that I will never be able to experience it for the first time again.
The Return
If you are interested in my viewing experience of The Return, you should check out the in-depth article I recently published on it. Based on that evaluation, I can undoubtedly tell you that this movie is not a pleasant viewing experience and you should not waste your money on it, though it did make for a nice lullaby into my midday nap.
Xoftex
Xoftex is a surreal take on the European refugee crisis. Submerging into the dreamlike realm of the movie may be thought-provoking to some and meaningless to others.
Xoftex is the name of a fictional refugee camp in Greece, housing mostly Syrians and Palestinians. The actors of Xoftex are real-life refugees, bringing authentic and moving performances to the screen. The main character, Nassar, experiences the inhumane and dangerous treatment refugees are exposed to, all while he battles the scars of his past. The excruciatingly long waiting times for a decision on asylum claims make the camp a restless, liminal space. Nassar shoots short films with his friends to pass the time. While he is planning to shoot an epic zombie movie, he uncovers a conspiracy about campers falling into an endless coma.
This main storyline is intersected by surreal imagery, wherein the lines between dream and reality get blurred. While Nassar struggles to cope with his trauma and life in the camp, the viewer gets to experience the same disorientation, as the plot of the film becomes almost impressionistic. The dreamlike sequences leave you with many thought-provoking, lasting images, though the fast pacing barely gives you the time to process or evaluate them within the context of the story.
If you don’t expect yourself to be overwhelmed by this unconventional, intentionally confusing storytelling, Xoftex might speak to you. It may cause you to reflect on and emphasize with refugees on a different level, which is unbelievably valuable in the current time.
A Different Man ♡
This was definitely one of my favourite films in the festival, though I do find it hard to summarize. You really have to experience it yourself.
The first part of the film tells the story of a facially disfigured actor, who feels so mistreated in his life that he partakes in an experimental medical process that rids him of his facial disfiguration, rendering him unrecognizable. He then takes on an entirely new identity. This turning point in the characters’ life catalyses a hilarious, complex plot with many twists and turns.
Going into this blindly, it is impossible to tell which direction it will take, so I will not give away too much. The tangled and layered character dynamics that unfold after the first part reminded me of the shenanigans in classic comic identity-swap movies such as Freaky Friday or She’s The Man, but heightened to an extreme. The movie keeps adding layer upon layer of complexities, it is simply fascinating to witness. The pacing starts off slow and increases drastically from the turning point up until the end. This is to be expected based from the plot, but it does lead to an abrupt ending which is a bit overwhelming and dissatisfying, considering all the emotional stakes involved. At the same time, it still tastefully addresses the very real struggles of disfigured and disabled people and somehow manages to be simultaneously moving, thought-provoking and absolutely unhinged. The stunning cinematography and acting in harmony with the captivating writing to create a thoroughly enjoyable film. This is a guaranteed fun time and you should not miss out on experiencing it in theatres.
Being Maria
Being Maria adapts the life story of the deceased French actress Maria Schneider, who played in many notable movies, but had her breakout role in a movie with Marlon Brando (played by Matt Dillon). Despite being a minor at the time, said movie was of very sexual and experimental nature. The circumstances on set were atrocious and Schneider’s opinions and autonomy were not respected. This led to Marlon Brando improvising a rape scene with Schneider against her will, though it is unclear whether actual intercourse took place or if it was simulated. The movie explores the circumstances that led to this horrible instance, as well as the way it affected Maria’s life afterwards.
As with any other celebrity biopic (biographical movie), this was an incredibly painful watch. Especially when the stories of female celebrities are told, you are reminded of the disgusting treatment women are subjected to when in the public eye. The story of Maria Schneider is one of the most tragic cases and an important critique of the sexual exploitation of actresses in the current time and the past alike. I recommend this to anyone who is interested in the misogynistic history of the film industry, though I do have to say that there is little that sets this movie apart from any of the other biopics coming out right now. This led me to wonder whether the producers were just hopping on a trend when choosing to create this movie. The most interesting part of the movie for me was Matt Dillon’s shocking behavior at the press conference, as he refused to fully condemn Marlon Brando’s actions and even praised his importance as an actor.
If you are interested in the genre of biopics, this is one of the better-crafted examples of it and you should consider seeing it on the big screen.
The End
Played at the very end of the festival, I started wondering during the screening, whether this movie was only chosen to create a pun. The End is a movie that ironically never seems to end, dragging you through a repetitive, 148-minute-long family drama, which the few amazing scenes that sporadically bless the screen cannot make up for.
Joshua Oppenheimer attempts, with this as his fictional debut, to unite drama and musical in a limited setting. The film shows our world after being destroyed by a climate catastrophe, but only from the perspective of a wealthy family living in an underground bunker. Their routine of complete isolation, denial and delusion is broken by reluctantly taking in a girl from the outside, with the son of the family slowly falling in love with her.
These characters are definitely interesting to explore, but new developments within the family dynamics are scarce until the very end of the movie. Oppenheimer mostly focuses on documenting the dystopian, disturbing everyday conflicts of these characters. But because this setting and worldbuilding is so bleak and limited, experiencing it to the last detail is completely bland for the viewer. To make matters worse, the characters spontaneously burst into songs as monotonous as their lives that drag the already thin plot out even further. To be fair, there are some beautiful, moving and shocking moments hidden in there. These are especially powerful in combination with the stunning directing and the few songs on the soundtrack that are actually well composed and performed.
Before the screening, Joshua Oppenheimer held a big speech about the importance of standing up for human rights, climate justice and changing things for the future of our planet. The End was supposed to deal with these current issues and inspire us to act. While Oppenheimer does choose an uncommon angle to document the survivors of a worldwide catastrophe, the movie offers little new social commentary. The unbelievably rich characters are unsurprisingly revealed to be amoral, selfish and hypocritical. They grapple with the moral implications of putting themselves first, choosing to live in delusion to justify their crimes. While this cognitive dissonance is something we can all relate to, in a time where ethical consumption is almost impossible, the critique of the upper class is far from original. This is another aspect where the film fails to give you a reason to keep watching.
I wouldn’t recommend this film, even as a fan of musicals and experimental movies. It plainly lacks substance and gives no incentive to sit through the monotony, to the point where I considered leaving the theatre early.
Baby ♡
Movies about struggling, queer young men falling into prostitution are so common, they may as well be their own genre. Think Mysterious Skin, My Own Private Idaho, Sauvage… Google will recommend you over thirty popular films that fit the criteria. Even at Thessaloniki Film Festival, there was another movie being screened about the same topic called Sebastian. I do not condemn this genre, on the contrary, I consider some of these movies to be great pieces of cinema. But I am sick of seeing the same queer stories over and over again, even if they come from a place of sincerity. I was curious to see if Baby would avoid being repetitive.
It is hard to find an original narrative to tell a story that has been told dozens of times. While I did enjoy “Baby”, I have to say that it only partially achieved this.
After being released from prison, the teenager Wellington aka Baby, is searching for stability, and predictably has no other means of support than to return to a life of crime. He befriends and gets taken in by the much older Ronaldo, who introduces him to sex work. The two have a multifaceted relationship, with Ronaldo taking on the role of a father figure, romantic partner and exploitative superior alike.
This relationship is by far the most interesting aspect that the movie explores. The film portrays all characters without judgment, finding tenderness in the darkest moments and evoking empathy for the lives of people who are usually not represented in cinema. The overarching plot is, however, not subversive at all, but entirely predictable. Wellington explores his sexuality and identity as a sex worker. He is corrupted and disturbed as he is pushed into darker corners of the criminal lifestyle. He comes to the conclusion that this life is damaging and unfulfilling. The exact same character arc that a myriad of other young men in media have lived through.
At its core, Baby is a story about searching for a sense of belonging and family, a narrative most people can relate to. While unfortunately unoriginal, the execution of the story is admirable. With its enticing cinematography and convincing acting, the movie will have you glued to the screen, even if you can tell what happens next. I could even notice some people in the cinema tear up during the emotional moments. Baby is a good watch; I just wish it were great.
Cafe 404
This movie left me feeling very frustrated. Not because it is bad, but because it feels like a tragic waste of potential.
Cafe 404 tells the story of the young restaurant owner Jimmy, whose parents were murdered by criminals when he was young. Out of obligation to his parents, he feels the need to keep the roadside restaurant running, despite not making enough money to keep it alive. When the restaurant becomes involved in criminal activity once again, he chooses to take possession of an abandoned bag of money. This causes conflict between him, his father figure Nikos and his two employees as they desperately try to sort the situation out.
While it is one of the few Greek movies I was able to see at the festival, the entire movie is written in English and set next to a highway in an undisclosed English-speaking country. When asked about the language choice, the director revealed that he felt the movie but especially the humor was easier to write in English.
This makes a lot of sense in retrospect. The film is branded as a comedy and incorporates occasionally solid, but mostly incredibly cheesy and cheap American humor. The same jokes you have heard in soulless Hollywood-movies are repeated with little variation. This unoriginal sense of humor also affects the rest of the writing. Two of the four main characters are walking archetypes with a lack of depth, simply functioning as comic relief for most of the movie. The director overuses Hollywood-esque sequences like flashbacks, which drag the movie out and add nothing to the plot.
But unlike the Hollywood movies that this movie draws inspiration from, I don’t think that it is devoid of a personality. After way too long of an exposition, the action finally picks up and we get some very moving moments between Jimmy and Nikos, with both actors demonstrating extraordinary talent. It becomes clear that behind the facade of a cheap crime-flick, there lies a very personal story about found family and the burden of heritage. The writing also really shines in those moments and the thoroughly beautiful directing finally has a meaningful effect on the viewer.
While the first half of the movie is painstakingly mediocre, the second half just might have the potential to be great. It is mostly an issue of editing and pacing, though I do feel that the creators should generally find their own style of filmmaking, supporting more personal storytelling, instead of copying a genre that already has too many iterations. You really have to fight your way through a majority of the movie, wherefore it does not make for a pleasant viewing experience and I would not recommend seeing it in theatres. I am, however, curious about future projects of the creators and whether they will combat these issues.
