✔️ 2022-09-17 17:42:48 – Paris/France.
When the saying that “all is not gold that glitters” is taken to a completely scary and disturbing extreme, it is possible to fall into the predictable or the cliché. But even in such basic premises, we can stumble upon scrumptious stories that grab us despite the fine print or buts. This is the case of “He passed by here”the latest opus of the Anglo-Iranian filmmaker Babak Anvari for Netflix, where in an attempt to give his filmography a certain Jordan Peele twist, he decides to venture into a narrative exercise full of racial denunciation, attacks on the elites and lots of tense plots.
With an a priori easy approach (which allows, yes, an easy management of its development), Anvari presents the story of two young Londoners (Toby and Jay), transformed into a kind of graffiti liberators with Banksy charms, eager to instruct British nobles and annoy them with their characteristic filigree on the walls of their luxurious homes. But not for nothing, the film's approach gets rid of its unpredictable twists, typical of any self-respecting thriller, because this game of juvenile vigilantes will become very disturbing and reckless when one of the members of this duo of robin of the hoods open the thunder box and discover something no sane person would want to discover.
“He passed by here” It's also the perfect excuse for many nostalgic to find Kelly MacDonald (who didn't fall in love with her in Trainspotting?), this time in the shoes of a psychologist and single mother, overwhelmed by life and who will gradually begin to better understand her post-adolescent son based on the work she develops with one of her patients, thus realizing that little by little her weight in the plot is gaining relevance and character and thus reaching its final version in "mother's courage" format. But if anyone saves the day from an acting perspective, it's undoubtedly the legendary Hugh Bonneville, playing a contemporary bogeyman with great power to abuse and delivering an emetic role. and ruthless who emerges from a thousand quagmires thanks to knowing all and knowing justice with a good hand (although he is unable to hide his true essence, angry and frightening, in a macabre story in the rhythm of the second act of The Nutcracker ).
If we talk about the music that frames this troubled and dark story, the brilliant hand of Isobel Waller-Bridge (in fact, the sister of the good Phoebe), will participate in a particular way in the most agitated sequences of the film - except for the flawless use of "Everybody Wants To Rule The World" by Tears For Fears-. For its part, Anvari makes the slight slip of wanting to open too many melons in a very short time – the treatment of mental health, the precariousness of youth employment, parental pressure on the future of children, migration crises , or even influence peddling – leaving a lot of ultimately as mere brushstrokes in the overall context of the story. A respectable attempt, however, to open a breach within that avid collection of tapes which in recent years have played their corresponding role as a relevant awakening of system consciousness.
SOURCE: Reviews News
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