By Jorge Ignacio Castillo
Belmonte (Uruguay/Spain/Mexico, 2018): An unapologetic character study, Belmonte is a mildly captivating portrait of an artist at crossroads. The titular character is a painter depressed over his broken family who finds himself unable to move forward. His hostility towards his surroundings and his lack of empathy for those who love him isolate him further.
The film does a good job digging into the main character's inner life without having to spell it out for the audience. The insights, however, are not quite ground-breaking, but at least the execution is impeccable, thanks to a strong turn by Veiroj's regular Gonzalo Delgado. The resolution is thoroughly unearned (the cinematic equivalent of “sleeping on it”), which at 75 minutes-length feels straight-up lazy. Two stars. Distribution: Unlikely.
Girls of the Sun (France, 2018): While the devastation in Syria is the most covered aspect of the ISIS offensive in the Middle East, the Kurdistan has suffered enormously at hands of the terrorist organization. Following the systematic killing of the male population, an increasing number of Kurdish women has joined the resistance, despite the fact the top rank treats them as cannon fodder.
Girls of the Sun follows the story of Bahar (Golshifteh Farahani, Patterson), a lawyer-turned-freedom fighter for whom personal trauma is the fuel that makes her a fearsome warrior. Her travails are covered by Mathilde (Emmanuelle Bercot), a journalist modeled after Marie Colvin for whom objectivity has long stopped being feasible.
While an undoubtedly compelling story, the film is broad and relies heavily in sentimentality, coming short more often than not. Director Eva Husson does succeed at conjuring some stunning visuals, but the final outcome feels disjointed. Two and a half stars. Distribution: It touches all the bases for an art-house run.