love proof movie review

Rolf Lassgård (Thomas) Livia Millhagen (Marie) Hedda Rehnberg (Liz) Fredrik Gunnarsson (The Hunter) Dajana Lööf (The Waitress) Olof Yassin (The Young Man)

Richard Hobert

Thomas and Marie are getting divorced and must meet one last weekend to empty and sell their summer house. Neither one of them knows the other's real intentions. A young woman suddenly appears with a jealousy-driven agenda all of her own. What was supposed to be a civilized end to a long-standing marriage turns minute by minute into a shattering weekend that turns everything in their lives upside down.

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Beautiful, interesting, incredible cinema.

Kärleksbevis

Thomas and Marie are getting divorced and must meet one last weekend to empty and sell their summer house. Neither one of them knows the other’s real intentions. A young woman suddenly appears with a jealousy-driven agenda all of her own.

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Oct 14th, 2022

Drama, thriller, description.

Thomas and Marie are getting divorced and must meet one last weekend to empty and sell their summer house. Neither one of them knows the other's real intentions. A young woman suddenly appears, with a jealousy-driven agenda all of her own. What was supposed to be a civilized end to a long-standing marriage turns minute by minute into a shattering weekend that turns everything in their lives, upside down.

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Thomas and Marie are getting divorced and must meet one last weekend to empty and sell their summer house. Neither one of them knows the other's real intentions. A young woman suddenly appears, with a jealousy-driven agenda all of her own. What was supposed to be a civilized end to a long-standing marriage turns minute by minute into a shattering weekend that turns everything in their lives, upside down.

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Movie Score

October 14, 2022,

Richard Hobert

Rolf Lassgård, Livia Millhagen, Hedda Rehnberg, Fredrik Gunnarsson, Dajana Lööf, Olof Yassin

Drama, Thriller

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Proof: Love Tested In A Polarised World

Writer-director Nora Jaenicke’s Proof couldn’t have come at a more appropriate time. A film on love and borders, immigration and aspirations, the short, all of 10:58-minute in duration builds a narrative around a woman whose love life soon becomes the bone of contention between her dignity and dreams. Granted the new cabinet in the States is clearly leaning towards a more liberal stance when it comes to immigration, the rigmaroles of the bureaucratic procedure cannot be overlooked. Add that to a woman’s life, one who is already feeling torn between the place she calls home, and the place she wishes to make one, the idea of having your heart set in two places remains a pipe dream, even today, especially for some. 

Iman (Preeti Gupta), a Pakistani immigrant who is enrolled at NYU not only has what many Asians would consider as the golden opportunity, but a red carpet welcoming her to it. In love with a NY native, Iman has everything going in her favour; until she reaches the immigration office, that is. Suspected of immigration fraud, her American dream soon starts to fizzle in the air. But, what is noteworthy is that Jaenicke ensures to let her audience know this isn’t someone who aspired for citizenship. It came as a consequence of life-altering plans; like in this case her love life.

Jakob Creutzburg, whose cinematography consumes his audience into living life through Iman’s lens, takes us into the bylanes of Pakistan and into the hearts of the American suburbs. And, an often overlooked aspect in filmmaking and more so in review, the production design and colour palette go the extra mile to recreate the life of a woman, whose choices although seemingly conventional, aren’t all that it’s cracked up to be. The telling choices in the colours of the shots filmed for Pakistan or the windowless immigration office; the sepias and whites that play with each other into creating a hypnotic maze of nostalgia and trepidations are near perfect.

Iman’s boyfriend of four years, Evan (Jacopo Rampini) plays the supportive partner, and although his scenes are primarily limited to the heydeys of the engaged couple, Rampini pours into his portrayal of a helpless partner. The genius of this film lies in its writing; wherein despite the scenes focusing on individual characters, through separate frames, we feel the collective anguish of the lovers and the ire towards the system that has wronged them. Robert L. Wilson, the only other cast member plays the immigration officer to a T. His demeanour, notwithstanding the uniform, works crucially in the favour of the story. 

As the suspicious officer pries deeper and deeper to meet his professional demands, we begin to suspect something more. There is a line that is clearly getting crossed here. Dignity and privacy are put to test and stoked in the flames of righteous moral obligation. Wilson does it well, and, by the end of the interrogation, we feel as violated as Iman and the countless others who have had to endure everything that goes beyond civility—all in the name of professionalism and misunderstood nationalism.

By the end of it, Jaenicke has not only managed to add a different perspective to the whole saga of immigration to the States but also explored the deep racial discrimination embedded into the system and the perpetual question immigrants are compelled to ask themselves—is this really worth it?

We might not know about immigration policies or life overseas, but we know enough to wager that Jaenicke’s Proof is an earnest and sincere effort made collectively with the help of an equally passionate star cast, to showcase the undeniable, even if subtle bias that exists in policymaking and administration. This is an eye-opener and a very relevant short that carries an important social message that finds its significance heightened, now more than ever.

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Kärleksbevis.

Directed by Richard Hobert

Passion Jealousy Revenge

Thomas and Marie are getting divorced and must meet one last weekend to empty and sell their summer house. Neither one of them knows the other's real intentions. A young woman suddenly appears, with a jealousy-driven agenda all of her own. What was supposed to be a civilized end to a long-standing marriage turns minute by minute into a shattering weekend that turns everything in their lives, upside down.

Rolf Lassgård Livia Millhagen Hedda Rehnberg Fredrik Gunnarsson Dajana Lööf Olof Yassin

Director Director

Richard Hobert

Producer Producer

Håkan Hammarén

Writer Writer

Editor editor.

Lisa Ekberg

Cinematography Cinematography

Andreas Troedsson

Assistant Director Asst. Director

Cecilia Björkdahl

Lighting Lighting

Jerker Berglin Rebecka Blomkvist

Art Direction Art Direction

Aïda Kalnins

Composer Composer

Nina Hobert

Sound Sound

Joacim Lundström Thunderlin Fanny Lantz

Costume Design Costume Design

Charlott Axenström

Makeup Makeup

Matilda Stävenborg

Cimbria Film Fundament Film

Drama Thriller

Releases by Date

14 oct 2022, releases by country.

• Theatrical 11

95 mins   More at IMDb TMDb Report this page

Popular reviews

Review by fionam123 ★★★

hahahahha this had like the most mundane but unhinged characters the whole time I felt like I was being gaslit by the movie because it felt so absurd yet nothing happened and then, yes indeed, things happened. they definitely did for sure. And I have no fucking clue why those things happened

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Stream It Or Skip It: ‘Love Undercover’ on Peacock, a Dating Show That Takes Famous International Soccer Stars and Strips Them of Their Fame To Date American Women

Where to stream:.

• Love Undercover

‘Golden Bachelor’ Gerry Turner’s Daughter Weighs In On Golden Divorce, Says Their Family Has Been Facing “Rage And Cruelty” From Fans

Jessica from ‘love is blind’ gives dating update, disgraced ‘bachelor’ host chris harrison to create “the most dramatic” dating series “ever” — with the help of dr. phil, ‘the bachelor’ says goodbye to maria georgas (who would make a great ‘bachelorette’, just saying).

When you’re a rich and famous athlete, it can be hard to find someone who loves you for you. That is, unless they don’t know who you are. Love Undercover , a new dating/reality series on Peacock , takes five wildly successful international soccer players and brings them to Los Angeles, where the women they’ll be dating don’t have any idea that they’re not just average Joes.

LOVE UNDERCOVER : STREAM IT OR SKIP IT?

Opening Shot: The show opens with a lengthy montage of soccer highlights interspersed with clips from the season to come, clips that mostly consist of dating show cliches and the unsuspecting women wondering if they can actually date a construction worker or whatever else these rich and famous athletes are pretending to be. It’s a substantial montage, so much that I started to wonder when the show was actually going to start, or if it was going to. The point is–unlike the stars–they’re putting all their cards on the table up front.

The Gist: Right off the bat in the pilot, we’re introduced to the five stars–Premier League players Jamie O’Hara, Ryan Babel and Lloyd Jones, plus Mexican stars Marco Fabián and Sebastián Fassi. They’re shuttled to a penthouse in Los Angeles, and the women they’ll be dating are introduced to them through pictures alone. This is their first trial; they don’t even get to turn on their charm, instead getting humbled as the women pick who they want to date.

What Shows Will It Remind You Of? It bears more than a passing resemblance to other dating-show-with-a-twist programs like Love Is Blind or Joe Millionaire or whatever, but the real answer here is Lust Conquers All , the fictional dating show that featured as a subplot on S2 of Ted Lasso . If Jamie Tartt were a real person, he would absolutely be on Love Undercover.

Our Take: It’s always been fascinating to me how someone can be wildly famous in one part of the world, and virtually anonymous in another. Shortly after Argentine soccer superstar Lionel Messi moved from powerhouse Paris St-Germain to Inter Miami, he was spotted casually shopping at a Florida supermarket, something that would’ve seen him thronged by mobs of adoring fans in Europe or South America. Heck, I’m an avid sports fan, and outside of a dozen or so top-line stars, I’m not sure I’d recommend most soccer players if they were standing next to me on the street.

That fame gap is the gimmick that underpins Love Undercover , a surprisingly-endearing reality dating show on Peacock. The five men looking for love on this show are, in fact, wealthy and famous, each of them having achieved major success as an international soccer player. They’re just not allowed to tell the women they’re dating that. They’ve been given (mostly boring) cover stories that will force them to turn on the charm without the benefit of their status–but it’ll also hopefully give them a chance to meet someone who isn’t just chasing that status.

The initial round of dates shows how humbling this process can be for the men. Each of their pictures is put on display for the women to choose from, and three of the women choose the handsome Lloyd, an uneven distribution that leaves Jamie and Marco without dates–a situation they clearly haven’t experienced in quite a while.

It’s also–to be perfectly frank–quite funny watching the men squirm as they can’t admit the fame and status they actually have. One woman–a self-described influencer–brags about her 60,000 Instagram followers, and Ryan is forced to pretend like he doesn’t have any followers (he actually has two million).

The structure of the show–gimmick notwithstanding–is pretty standard for a dating show, and will feel very familiar if you’re a fan of the genre. The thing is, though, a dating show lives or dies on the power of its gimmick, and the one underpinning Love Undercover is a pretty darn good one. (Full disclosure: I’m not typically a fan of the genre, and it still sucked me in.)

Sex and Skin: No full nudity, but there’s a heck of a lot of skin on display. I mean, we’re trying to make connections here, right?

Parting Shot: Tinah–who’s mentioned her background in journalism multiple times–asks Jamie if he’s a football fan, and he sweats as she refuses to believe that a British man like him isn’t into the Premier League. “The Premier League that I fucking played in!” Jamie exclaims in his after-the-fact interview. It’s a big question: will these guys be able to keep their secret?

Sleeper Star: Each of the guys is actually a star, at least somewhere, so it feels a little unfair to pick a sleeper. But right off the bat, retired English footballer Jamie O’Hara–the oldest and most talkative of the bunch–steals the show with his profane banter.

Most Pilot-y Line: “Have you seen the movie Mission Impossible ?” Sebastian Fassi asks. “Tom Cruise has got it easier than what we’ve got to do. We are going undercover.”

Our Call: STREAM IT. If you’re into reality dating shows, that is. If you’re not, you’re going to hate it. But if that’s your thing, Love Undercover is a fun and surprisingly funny spin on the genre.

Scott Hines, publisher of the widely-beloved Action Cookbook Newsletter ,  is an architect, blogger and proficient internet user based in Louisville, Kentucky.

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‘Horizon: An American Saga’ Review: Kevin Costner’s Chapter 1 (Of 4) Sets Stage For Epic Story Of American West And Its Complicated History – Cannes Film Festival

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Running three hours, this film, scheduled for release by New Line and Warner Bros on June 28, is just “Chapter 1”, first of an unusual planned series of four separate films (not sequels) continuing the massive story, with Chapter 2 already in the can and scheduled for an August 16 release, and Chapter 3 reportedly going before the cameras imminently. Of course this multi-part saga is not unusual for television, where it thrives in the limited series form, but for movies it is virtually unheard of — along with the fact that its star/director, who has been dreaming of this in various forms since 1988, is largely footing the bill.

RELATED: ‘Horizon: An American Saga’ Cannes Film Festival Premiere Photos: Kevin Costner, Sienna Miller Luke Wilson & More

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But nothing on this scale has ever been attempted for this kind of release pattern on the big screen, and I would say, at least based on the first part with its huge cast of characters and storylines woven in and out, Costner’s biggest influence may have in fact been 1963’s Cinerama production of How the West Was Won. I know from multiple interviews in the past, including mine, Costner has always noted the impact seeing that film (nominated for Best Picture and winner of three Oscars including Best Original Screenplay) with his father made a lifelong impression on him. It similarly traversed many years, characters and story arcs like Horizon does but was just one long, reserved seat movie event. Horizon has four times its spirit at the very least.

RELATED: Kevin Costner, Sienna Miller, Luke Wilson & Cast Talk ‘Horizon’: “We Can’t Be Consumed With Making Our Pile Of Money Bigger As Much As Our Heart Full” – Cannes Studio

Spanning about 15 years from the end of the Civil War (a factor but not the focus here), Horizon is about the expansion and settlement of the American West, those brave white people who made their way on horse and wagon trains to the promise of a new life. Literally. In the movie Horizon is the name of a basically suburban dream. Flyers are continually seen urging people to come West. “If you want a farm or home the best thing in the West is the town of Horizon. Best grazing land in the world, the richest land, premium virgin land with pure and abundant water, temperate climate, and excellent health,” it advertises to potential settlers.

What it doesn’t say is it is also the home of American Indians, our Native Americans, many who are understandably not too keen about this development on what they consider their territory, and that it could also be a dangerous proposition. But this is a film about Manifest Destiny, and therein will lie many of the complications for these (many) people we meet along the way. And of course in different parts of the world this concept makes this movie still relevant, even as it is told as a piece of our history.

It is clear from this Chapter 1 that Costner, who co-wrote the script with Jon Baird and a story from Mark Kasdan, is interested again in this conundrum with the Indigenous population, just as he was in Dances With Wolves in going for a much deeper and complex study than what Hollywood largely did for decades in its treatment of the American Indian on film. And coming on the heels of another film that premiered in Cannes last year, Martin Scorsese’s Killers of the Flower Moon, it will be interesting to see how it all plays out in the upcoming chapters . In this one the table is set and we meet a lot of the key players, with the emphasis on those white settlers who made their way west as the Civil War had ravaged the Union, but with the promise of changing times giving hope.

Chief among the settlers is Costner’s character, Hayes Ellison, a lone wolf type who would like to keep to himself but keeps getting drawn into things he would rather avoid. He has survival and fighting skills that will come in handy, especially in some confrontations with very bad guys who are making trouble, notably the outlaw Sykes family.

This is a huge cast, but Costner tries to get them all introduced here including the intriguing Sam Worthington character of First Lt. Trent Gephardt, a soldier stationed at Fort Gallant but a guy with questions about himself and where he is going in this new world. Danny Huston’s sympathetic Col. Houghton has his hands full with the emerging droves of settlers, but knows there will be no way to stop, or possibly protect them when they get to Horizon. And you can count in Michael Rooker’s Sgt Major Riordan, who has the same concerns at Gallant.

Others include Luke Wilson’s good but reluctant leader of a wagon train, chosen against his will but trying to live up to the challenge, and Will Patton, a widower still recovering from the Civil War and accompanying his three daughters for a better shot at life.

The Native Americans are authentically cast, as you might expect in any movie from the filmmaker of Dances With Wolves. Standouts include Owen Crow Shoe as Pionsenay, an Apache warrior who is confused and frustrated with clashes with the settlers and none too pleased at this development, as opposed to brother Taklishim (a fine Tatanka Means) who is siding with their father, the Chief, in trying to be non-confrontational. Liluye (an excellent Wase Winyan Chief) is also his wife and mother of their baby, but she seems to have more fortitude and actually believes they should, like her brother-in-law, be resisting the rise of the settlers rather than sitting idly by.

Giovanni Ribisi, Glynn Turman, Tom Payne, Kathleen Quinlan, Angus MacFayden and countless others also pop in and out, some with perhaps more to do in ensuing chapters. There are more than 170 speaking roles in the series which is being shot on locations in Utah, with stunning cinematography by J. Michael Muro who captures the grandeur of the Old West in style. Other shout-outs go to Derek R. Hill’s authentic production design and John Debney’s stirring score.

For Costner, this is an impressive beginning, with the promise of more to come. It even ends with a montage of scenes from the second film coming in August, much like you might see if this were a television production, something it is defiantly not. With Horizon: An American Saga, Costner is just trying to keep the American Western alive, but he may, with this innovative roll of the dice, also be trying to keep theaters alive at the same time, that is if there is still an appetite for Westerns. Hopefully there is.

Title: Horizon: An American Saga Distributor: Warner Bros Festival: Cannes (Out of Competition) Release date: June 28, 2024 Director: Kevin Costner Screenwriters: Kevin Costner, Jon Baird Cast: Kevin Costner, Sienna Miller, Sam Worthington, Jena Malone, Danny Huston, Luke Wilson, Michael Rooker, Will Patton, Owen Crow Shoe, Tatanka Means, Wase Winyan Chief, Jamie Campbell Bower, Isabelle Fuhrman, Jon Beavers Rating: R Running time: 3 hr 1 min

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Kinds of Kindness review – sex, death and Emma Stone in Lanthimos’s disturbing triptych

Cannes film festival Yorgos Lanthimos reinforces how the universe keeps on doing the same awful things with a multistranded yarn starring Emma Stone, Willem Dafoe and Jesse Plemons

P erhaps it’s just the one kind of unkindness: the same recurring kind of selfishness, delusion and despair. Yorgos Lanthimos’s unnerving and amusing new film arrives in Cannes less than a year after the release of his Oscar-winning Alasdair Gray adaptation Poor Things . It is a macabre, absurdist triptych: three stories or three narrative variations on a theme, set in and around modern-day New Orleans.

An office worker finally revolts against the intimate tyranny exerted over him by his overbearing boss. A police officer is disturbed when his marine-biologist wife returns home after months of being stranded on a desert island, and suspects she has been replaced by a double. Two cult members search for a young woman believed to have the power to raise the dead.

Lanthimos uses repertory casting – and part of the film’s eerie joke effect, the effect of seeing the universe mysteriously doing the same awful things over and over, is in witnessing the same actors repeatedly showing up. Jesse Plemons , Emma Stone, Willem Dafoe, Mamoudou Athie, Margaret Qualley, Hong Chau and Joe Alwyn are each given a trio of roles, some intriguingly similar to each other, others quite different. Plemons is often stolid and unhappy. Stone is fierce and capable but sometimes vulnerable and sexual. Dafoe, of course, can’t help being the charismatic authority figure.

And what is even more unsettling is to see the same tropes, images and motifs come up: overeating, undereating; steak, chocolate, the same types of food. Dafoe’s overbearing executive Raymond gives Plemons’s unhappy underling Robert specific instructions on what to eat: “Because there’s nothing more ridiculous than skinniness on a man.” There are hospitals, ambulances, cops; places and people that mean unhappy submission to authority. Women get pregnant, and suffer miscarriages. People try to prove love by submitting to abuse and coercive control. There are recurring dreams whose contents are unsettlingly duplicated in waking existence. And perhaps most startlingly, there is sex, governed by a creepy roofie aesthetic. People keep drugging each other; Lanthimos keeps showing us unconscious naked women. And yet the men are the more contemptible and unattractive.

This is an uncanny world that looks like ours but really isn’t; like Emma Stone’s marine-biologist character, it has been perhaps replaced with a near-perfect copy by a malign unseen hand. Doubles and twins are another motif. And Lanthimos punctuates the bizarre recognition moments with a jarring, plinking piano key. The weirdness mosaic isn’t exactly like the Short Cuts of Robert Altman, who gave us a more recognisably human array of situations, nor is it exactly like the ensemble in Paul Thomas Anderson’s Magnolia, although Plemons’s cop has the same morose quality as John C Reilly’s officer in that film. The strangeness and fear are more like Charlie Kaufman’s and John Frankenheimer’s horror in seeing something off, something wrong – giveaway hints of a conspiracy or a higher truth.

The effect of it all is elegant and overwhelmingly stylish, yet maybe there’s not a superabundance of substance to go with the style. Kinds of Kindness feels heavier and longer than I expected, as if reaching for a meaningful resolution that might not be there. Yet absence and loss is perhaps the whole point.

• Cannes 2024
• Cannes film festival
• Drama films
• Yorgos Lanthimos
• Jesse Plemons

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Kidnapping is not a rare crime but a lucrative line of business in the Third World, according to "Proof of Life," a movie that is best when it sticks closest to the trade craft of a professional K&R man named Terry Thorne. K&R means "kidnap and ransom," we learn, and the specialty has grown along with the crime; somewhere in the world, businessmen are being snatched on an almost daily basis, making lots of work for Terry ( Russell Crowe ), who masterminds a helicopter snatch of a hostage in the opening sequence and makes his getaway clinging to the landing skips of the chopper.

Cut to Tecala, a fictional Latin American country where drugs are a major crop and a revolutionary movement has morphed into a professional kidnapping operation. We meet Peter and Alice Bowman ( David Morse , Meg Ryan ), an American couple going through a bad patch in their marriage, who are living in the country while Peter builds a dam. He thinks the dam will help the locals grow crops. She thinks it's window dressing for the oil company that employs him. They're hardly speaking to each other when she gets word he's been kidnapped.

Enter Terry Thorne, whose job is to negotiate the lowest possible ransom price and rescue the hostage. Exit Terry Thorne, when it's revealed that Bowman's employer didn't pay the premium on his K&R policy. Re-enter Terry Thorne, who returns to Tecala because something about Alice Bowman, some quiet unstated appeal with sexual undertones, has brought him back. He will risk his life for free, for the husband of the woman he doesn't know for sure he loves, although he has a strong hunch.

The movie, directed by Taylor Hackford , cuts between Thorne's K&R craft, Alice's guilt and emotional confusion, and the ordeal in the jungle by Peter, played by Morse as a hothead who talks back to the guys carrying the machineguns--not always prudent. Complications enter with Alice's sister-in-law ( Pamela Reed ); a fellow prisoner of Peter's ( Gottfried John ), who poses as a crazy missionary, and Thorne's old fighting partner Dino (David Crusoe), who is in the country trying to rescue another kidnap victim.

The movie's kidnap lore, based on books and articles about professional K&R men, is intriguing. Crowe, as Terry, explains his work to Alice (and to us), and we learn why you never bring in local negotiators (on the take and maybe in on the snatch), why the opening asking price is way high and how to demand proof the hostage is still alive. Meanwhile, Terry and Alice carry on a buried flirtation in which both shyly acknowledge the chemistry between them with a kiss and eloquent body language. A more graphic sex scene was cut from the movie, reportedly because it reflected the real-life liaison between Crowe and Ryan; whether the movie would have been better with a more overt romance is an interesting question; obviously Hackford preferred unreleased tension, and building toward his poignant final scene.

I found the movie absorbing in its details and persuasive in its performances, but the overall flight was somehow without lift. I wanted the tension wound tighter. The side relationships, with the sister-in-law and the missionary, were interesting in themselves but put the plot progress on hold. Crowe, Ryan and Morse are everything the story asks for; her character is doubly interesting because the movie avoids the cliche of the grieving wife and shows a conflicted, sometimes angry woman who had a big fight with the husband just before he was snatched. Crowe's K&R man has a professional code, mostly (we gather) of his own enforcement, that inhibits his romantic feelings. Or is it that he gets off on playing the hero for unavailable women, and then nobly departing before they have the opportunity to choose him if they want to? Morse's role is more down-to-earth, as a captive who is mistreated but knows he can get away with a lot because he must remain alive to be of value.

I was interested all through the movie--interested, but not riveted. I cared, but not quite enough. I had sympathy with the characters, but in keeping at arm's length from each other they also kept a certain distance from me. Perhaps the screenplay should have been kept simmering until it was reduced a little, and its flavors made stronger.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Proof Of Life (2000)

Rated R For Violence, Language and Some Drug Material

135 minutes

Meg Ryan as Alice Bowman

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Pamela Reed as Janis Goodman

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Saint Nick of Bethlehem

The original story about a man who lost his son, became Santa to many, reunites with his love, and brings hope to all. Distraught over losing his son, he finds closure and discovers a new pu... Read all The original story about a man who lost his son, became Santa to many, reunites with his love, and brings hope to all. Distraught over losing his son, he finds closure and discovers a new purpose when he takes on the role of Santa Claus. The original story about a man who lost his son, became Santa to many, reunites with his love, and brings hope to all. Distraught over losing his son, he finds closure and discovers a new purpose when he takes on the role of Santa Claus.

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‘Christmas Eve in Miller’s Point’ Review: A Sweet, Nostalgic Love Letter to Suburban Holiday-Season Rituals

Director Tyler Taormina wraps up an unabashedly sincere portrait of a boisterous Italian-American family gathering in twinkling tissue paper, and leaves it under the tree.

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Eventually, Emily and Michelle give their elders the slip and venture into town to hang out and score beers and couple up (Michelle with a waitress played by “Eighth Grade”’s Elsie Fisher), in a way that somewhat recalls Taormina’s lovely and strange debut, “Ham on Rye.” But where that film put a surreal, dreamily satirical twist on the American prom ritual, “Christmas Eve in Miller’s Point” plays its traditions straight, with a sincerity and sentimentality so brazen it borders on the avant garde.

It’s oddly heartwarming to know that while for many of us, memories of family Christmases exist only in a messy blur, clearly Taormina, his co-writer Eric Berger and perhaps especially his production designer Paris Peterson were paying closer attention. They render their ur-Christmas movie, that dangles like a tree ornament on a string of tinsel stretched between Vincente Minnelli’s “Meet Me In St. Louis” and a hokey late-’90s holiday commercial in almost fetishistically fanatical detail.

Whatever surreality there is here comes from coupling this radically simple premise to a gloriously overstuffed aesthetic of suburban abundance, in which everything sparkles and glows, while tables groan under the weight of a hundred assorted casserole dishes. Even those moments that threaten drama or conflict — like a manuscript left on a hall table or a missing pet lizard — turn into benign anticlimaxes: every Chekov’s gun loaded with nothing but glitter and candy.

From a soundtrack spackled with Sinatra and ’60s pop classics to the hyper-romantic, gauzy visuals delivered by DP Carson Lund (whose directorial debut “Eephus,” which Taormina produces, is also in Directors’ Fortnight) to the unquestioning presentation of weird family rituals as completely normal, there is no War on Christmas here, just a wholehearted surrender to its folksy, kitschy pleasures.

Reviewed at Club 13, Paris. (In Cannes Film Festival - Directors' Fortnight). May 9, 2024. Running time: 107 MIN.

• Production: An Omnes Films production. (World sales: Magnify, New York.) Producers: Tyler Taormina, Krista Minto, David Croley Broyles, Duncan Sullivan, Michael Cera, Michael Davis, Kevin Anton, Eric Berger, David Entin, Rob Rice. Executive Producers: Jeremy Gardner, Joseph Lipsey IV, Brock Pierce, Jason Stone, Hannah Dweck, Ted Schaeder. 
• Crew: Director: Tyler Taormina. Screenplay: Tyler Taormina, Eric Berger. Camera: Carson Lund. Editor: Kevin Anton. 
• With: Matilda Fleming, Francesca Scorsese, Elsie Fisher, Sawyer Spielberg, Maria Dizzia, Michael Cera, Gregg Turkington, Ben Shenkman.

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