MY FAVOURITE CAKE (2024)

Seventy-year-old Mahin has been living alone in Tehran since her husband died and her daughter left for Europe. One afternoon, tea with friends leads her to break her solitary routine and revitalise her love life.

In My Favourite Cake, directors Maryam Moghadam and Behtash Sanaeeha craft a tender, intimate portrayal of love, ageing, and quiet rebellion. Set in contemporary Iran, the film follows the journey of Mahin (played by Lili Farhadpour), a widowed woman in her 70s who has spent decades coming to terms with a body that is no longer youthful, and a country that feels increasingly stifling. Her life, much like her body, has become a reflection of loss and constraint. Her children live abroad, her husband has been dead for decades, and the friends who once filled her life with laughter now gather only for an annual meeting where the most exciting event is the presentation of a blood pressure monitor as a birthday gift.

Mahin is a character who, at first glance, seems resigned to her fate. She spends her days alone in her garden, napping until noon, and scrambling to answer FaceTime calls from her children who are distant in more ways than one. Her life has become a series of monotonous routines, a stark contrast to the youthful liberalism she once embraced. Yet, beneath this calm, there is a simmering dissatisfaction with her current reality. She misses the freedom she had before the revolution, the intimacy of companionship, and the sense of joy that comes from sharing your life with someone else. The film is deeply personal, but it is also political, as Mahin's story reflects the broader experiences of many Iranian women who have found their freedoms curtailed by a restrictive regime.

The film takes a pivotal turn when Mahin meets Faramarz (Esmaeel Mehrabi), an elderly taxi driver who has also been living in solitude for years. Their meeting is accidental, but there is an undeniable spark. When Mahin overhears that Faramarz is a bachelor, she boldly invites him to her home. What follows is a quietly radical encounter, as the two spend an evening together behind closed doors, far from the prying eyes of neighbours and the morality police. The simple act of inviting a man into her home is an act of rebellion in Iran, where unmarried men and women are not permitted to be alone together. This is where the film truly begins to explore the themes of repression and the human desire for connection.

As Mahin and Faramarz share their stories, they bond over their mutual losses and longings. They talk about the loves they’ve lost and the country that no longer allows them to be as free or as joyful as they once were. Their conversations are imbued with both tenderness and a sense of urgency. Both characters are acutely aware that time is running out, and this awareness makes their budding relationship feel all the more poignant. The chemistry between Farhadpour and Mehrabi is palpable, and their performances are nothing short of mesmerising. They play off each other beautifully, with a natural, understated charm that makes their courtship feel authentic and relatable.

The film is masterfully directed, with Moghadam and Sanaeeha using a light touch to explore heavy themes. My Favourite Cake is very much a slice-of-life film, with the story unfolding slowly and organically. The dialogue is considered, and the pacing is deliberate, giving the audience time to fully immerse themselves in the world of the characters. The cinematography, by Mohammad Haddadi, is equally restrained and intimate. One of the most striking scenes in the film is a moment where Mahin and Faramarz sit together in her garden, framed by soft-focus leaves and branches that seem to embrace them as they grow closer. The visual storytelling enhances the emotional depth of the film, creating a sense of warmth and realism that complements the narrative.

While My Favourite Cake is a love story at its core, it is also a critique of the political and social structures that seek to control the lives of its characters. The oppressive presence of the morality police is never far from the thoughts of Mahin and her friends. In an earlier scene, Mahin even rescues a young woman from being arrested for showing too much hair—a stark reminder of the constant surveillance and control that women in Iran face. The film makes it clear that Mahin’s relationship with Faramarz is not just a personal triumph; it is also an act of defiance against the system that seeks to suppress her desires.

The romance between Mahin and Faramarz is depicted with a sweet, almost childlike innocence. There is an infectious giddiness to their interactions, reminiscent of teenagers sneaking around, trying to avoid being caught. This sense of playfulness is in direct contrast to the seriousness of their situation, and it makes their love story all the more endearing. Theirs is a romance that is political by its very nature, as it challenges the norms of a society that forbids such relationships.

Despite the joy that the couple experiences, there is an underlying sense that things are too good to last. The film does not shy away from acknowledging the harsh realities of life in Iran, and this is reflected in the film’s bittersweet ending. Without giving too much away, it is safe to say that the conclusion of My Favourite Cake is not the typical feel-good ending one might expect from a romantic film. However, it is this very contrast between joy and sorrow that gives the film its emotional weight. The love that Mahin and Faramarz share is fleeting, but it is also powerful, and their relationship leaves a lasting impact.

What makes My Favourite Cake truly remarkable is its portrayal of ageing and the irrepressible need for connection. The film reminds us that love knows no age limit, and that the desire for companionship and intimacy is universal. Mahin’s journey is one of self-discovery, as she realises that she still has the capacity for love and joy, despite the years that have passed. Her relationship with Faramarz is a reminder that it is never too late to take risks and embrace life, even in the face of adversity.

The film also explores themes of body positivity and self-acceptance, as Mahin comes to terms with her ageing body and the limitations that come with it. Her relationship with Faramarz is built on mutual respect and understanding, and the film celebrates the beauty of their connection without resorting to clichés or sentimentality.

My Favourite Cake is a deeply endearing film that is as much a celebration of love and intimacy as it is a critique of repression. The film’s quiet rebellion, heartfelt performances, and nuanced exploration of the complexities of ageing make it a standout work. With its bittersweet ending and its thoughtful reflection on the passage of time, My Favourite Cake is a tender, touching film that will resonate with audiences long after the credits roll. It is a reminder that, no matter how old we are, or how constrained our circumstances may be, we all have the right to happiness and connection.

My Favourite Cake is in NZ cinemas from October 17th, 2024

GIRLS & BOYS (2024)

Love is a battlefield. This is a war story. It begins with a chance encounter at an airport in Naples. How it ends will make you question whether it's ever possible to truly know the people we love.

Girls & Boys, a gripping solo performance by Beatriz Romilly, directed by Eleanor Bishop, is a deeply unsettling exploration of gender, violence, and love. Performed on a minimalist set designed by Tracy Grant Lord, the production strips back all unnecessary elements, allowing Romilly to command the stage for an intense 110 minutes. Dressed simply in a white singlet and beige sweatpants, Romilly invites the audience into an intimate and confessional dialogue, charting the arc of a relationship that begins in passion and ends in devastating tragedy.

The play opens with humour and warmth as Romilly’s character recounts her whirlwind romance with a charismatic man she meets at an airport. He runs a successful business, while she lands a job as a development executive through sheer nerve. The chemistry between them is palpable, and together they build a life, raising two children, Leanne and Danny, in what seems to be a thriving household. Romilly’s playful and witty delivery creates a light-hearted atmosphere, drawing the audience in with ease.

But beneath the surface of this seemingly perfect life, cracks begin to show. About halfway through the play, a subtle shift occurs, hinting at the impending disaster. A single, startling line signals the unravelling of the narrative, and what begins as a comedy steadily transforms into something much darker. The play delves into the nature of violence, posing uncomfortable questions about whether it is ingrained in male behaviour. This theme is mirrored in the contrasting behaviours of the children—Danny, who gravitates toward destruction, and Leanne, who exhibits a more constructive, intellectual nature.

Romilly’s performance is masterful. She alternates between sharing memories of her flourishing production career and recounting the mundane yet demanding challenges of parenting. As she controls the narrative, there is an underlying tension, as if she is concealing something from both the audience and herself. This sense of control only intensifies when a shocking act of violence is revealed. The audience never witnesses the violence directly, but Romilly’s vivid description of the event is gut-wrenching, offering a brutally honest depiction of a love affair turned sour.

What makes Girls & Boys so compelling is its willingness to confront uncomfortable truths about masculinity and power. The play does not shy away from examining the darker aspects of male identity, particularly as they manifest in jealousy and violence. It also highlights the resilience of the human spirit, as Romilly’s character endures both personal and professional turmoil. This combination of vulnerability and strength gives the play its emotional depth.

The minimalistic set design, while initially slow in pace, enhances the introspective nature of the performance. With no props or visual distractions, the focus remains entirely on Romilly as she moves across the stage, connecting with all sides of the audience. Subtle lighting changes and carefully timed sound effects are the only cues that shift the tone and setting, reinforcing the isolation and disconnection at the heart of the story.

Romilly’s portrayal of anger is particularly striking. Unlike traditional depictions of female rage, her performance is raw and unfiltered, yet devoid of tears, which adds a layer of unsettling power. The absence of overt emotional release amplifies the play’s tension, making the audience feel the weight of her suppressed emotions.

Though the fast-paced dialogue and British accents may be challenging for non-native English speakers, Romilly’s sharp wit and tenacity ensure that the character's personality shines through. The humour, though often dark and laced with profanity, serves to temper the play’s more violent themes, providing moments of relief amidst the intensity.

Ultimately, Girls & Boys is a provocative and timely exploration of violence, love, and gender. The play refuses to let its audience remain passive, forcing them to confront difficult realities that resonate deeply in today’s world. It is a show that lingers long after the final line is spoken—dark, unflinching, and undeniably relevant.

Girls & Boys is being performed at the ASB Waterfront Theatre from 10 - 22 September, 2024

Purchase tickets here

Duration

1 hour and 50 minutes, no interval

Advisory

This production contains offensive language, graphic descriptions of family violence, murder and suicide, sexual references, and depiction of psychological distress. Not suitable for anyone under 18 years of age.

Need to talk?

If you or someone you know needs information or support, the following organisations may be helpful, and are available 24 hours a day, seven days a week:

Are You OK?

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0800 543 354 (0800 LIFELINE) or free text 4357 (HELP) any time

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Shine Domestic Abuse Helpline

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Free call or text 1737 any time

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TRANSFORMERS ONE (2024)

The untold origin story of Optimus Prime and Megatron, better known as sworn enemies, but once were friends bonded like brothers who changed the fate of Cybertron forever.

Transformers One brings a fresh and dynamic perspective to the beloved Transformers franchise, setting itself apart from previous live-action entries by focusing entirely on the world of the Autobots and Decepticons. Directed by Josh Cooley and featuring the voices of Chris Hemsworth, Brian Tyree Henry, and Scarlett Johansson, this animated feature dives into the rich history of Optimus Prime and Megatron, charting their tragic journey from brothers-in-arms to bitter enemies. With a strong emphasis on emotion, world-building, and character-driven storytelling, Transformers One feels like a rejuvenation of the franchise, injecting it with a level of depth and heart that many fans have longed for.

At its core, Transformers One is an origin story, exploring the early days of the Autobots and Decepticons on Cybertron. The film traces the bond between Optimus Prime and Megatron, highlighting how their once-strong friendship unravels into a bitter rivalry. The emotional weight of their relationship forms the backbone of the narrative, allowing the audience to truly empathize with both characters. It's a refreshing shift from the typical action-heavy plots of past films, offering more substance and depth to the conflict. This focus on character and story development is one of the film's greatest strengths, making the viewer feel the emotional stakes as Optimus and Megatron transform from allies to enemies.

One of the standout features of this film is how human-like the Transformers' facial expressions are. The animation team has done a remarkable job in bringing the Autobots and Decepticons to life, giving them emotions that resonate with the audience. Unlike previous iterations where the Transformers often felt robotic and distant, Transformers One gives them a sense of humanity. Their emotions are clear, their thoughts are visible, and their struggles are palpable. You can see the conflict in Optimus Prime's eyes, feel the anger and betrayal in Megatron's face, and experience the full range of emotions as they grapple with their differences. This attention to detail makes the characters feel alive, more than just machines engaged in battle.

Set entirely on the metallic world of Cybertron, Transformers One offers a visually stunning depiction of the planet, immersing the audience in a fully realised world. The art direction and world-building are top-notch, with every frame filled with intricate details that bring Cybertron to life. The action is clear, fast-paced, and exhilarating, yet the designs of each Transformer are distinct enough that there’s never any confusion about who is who. Each character’s design and colour scheme is instantly recognisable, helping to differentiate them in the heat of battle. The visual clarity is a breath of fresh air compared to the chaotic action sequences of previous live-action films, which often made it hard to keep track of the combatants. Here, everything is crisp and defined.

Clocking in at a brisk 104 minutes, Transformers One manages to strike the perfect balance between action and story. The film wastes no time getting to the heart of the matter, offering high-octane action sequences that are visually impressive without overstaying their welcome. The third act, in particular, is a spectacle of energy and excitement, ramping up the tension and delivering on the emotional beats that have been building throughout the film. While some may find the plot points predictable, the execution is so strong that it doesn’t diminish the impact of the story. The pacing is tight, and the action sequences are dynamic and thrilling, although some moments are so fast-paced that it may be difficult to keep up if seated too close to the screen.

Transformers One is clearly aimed at a younger audience, blending the coming-of-age genre with the world of robots. However, the film does an excellent job of making its themes and storylines accessible to all ages. The emotional depth, character development, and sense of nostalgia make it enjoyable for long-time fans of the franchise as well as newcomers. It strikes a careful balance, offering enough action and visual excitement to keep younger viewers engaged while also providing a thoughtful exploration of friendship, loyalty, and the cost of war. The coming-of-age aspect is seamlessly woven into the narrative, adding an extra layer of relatability.

One of the most refreshing aspects of Transformers One is its focus on the Transformers themselves. Unlike previous films, which often became bogged down in human-centric storylines, this movie keeps the attention squarely on the Autobots and Decepticons. The plot revolves around their conflicts, their relationships, and their world. By doing so, the film avoids the distraction of human drama, allowing for a more cohesive and engaging story. It's a welcome change for fans who have long wanted a film that truly centres the Transformers without the constant presence of human characters stealing the spotlight.

The film’s humour is blunt and direct, with moments of levity breaking up the intense action and drama. While the comedy may not appeal to everyone, it fits well within the tone of the film, keeping the overall atmosphere light-hearted even in the midst of darker moments. The jokes are in-your-face, but they serve their purpose of providing some relief amid the high-stakes action and emotional tension. The balance of humour and drama ensures that the film never feels too heavy, maintaining an enjoyable and engaging pace throughout.

Transformers One breathes new life into a franchise that many thought had run its course. By focusing on the origins of Optimus Prime and Megatron, the film offers a fresh take on a familiar story, rich in emotion, character development, and visual spectacle. With its stunning animation, engaging storyline, and focus on the Autobots and Decepticons themselves, this film delivers a Transformers experience that fans have been waiting for. Whether you're a long-time follower of the franchise or a newcomer, Transformers One is a triumphant return to form, proving that there is still plenty of life and creativity left in this iconic series.

Transformers One will be released in cinemas on September 26, 2024

THE SUBSTANCE (2024)

 

A fading celebrity decides to use a black-market drug, a cell-replicating substance that temporarily creates a younger, better version of herself.

Coralie Fargeat’s The Substance is an audacious dive into psychological horror, blending grotesque body transformations with biting social commentary. Running at 140 minutes, this slow-burning nightmare unravels Hollywood's obsession with youth and beauty, making it a disturbingly poignant satire on the entertainment industry’s toxic standards.

The film stars Demi Moore as Elisabeth Sparkle, a once-glamorous celebrity whose entire identity is wrapped up in the admiration of men and the adoration of the public. At 62, Moore portrays Elisabeth’s desperate struggle against the inevitable effects of ageing with fearless intensity. The casting is an ironic and poignant choice, given Moore’s own history as a sex symbol in the 80s and 90s. Her performance strikes deep as she grapples with a fading relevance that reflects the reality many ageing actresses face in Hollywood.

Moore is joined by Margaret Qualley, who plays Sue, the younger version of Elisabeth. Sue is everything Elisabeth used to be—youthful, radiant, and ambitious. As the two versions of Elisabeth share the screen, the film exposes the toxic pressures women face to retain their physical allure. Moore and Qualley both deliver bold performances, with Qualley bringing an infectious energy as the seductive and ruthlessly ambitious Sue. This duality of characters creates a tense dynamic that drives the film’s unsettling narrative.

At its core, The Substance is a darkly satirical critique of Hollywood’s treatment of women. Dennis Quaid portrays Harvey, a sleazy and manipulative character whose name clearly alludes to the notorious Harvey Weinstein. His presence reinforces the film's commentary on the patriarchal system that objectifies women, valuing them solely for their appearance. The film's first half leans heavily into this satire, showing Elisabeth's slow unravelling as she struggles to keep pace with an industry that worships youth.

As the story unfolds, Elisabeth resorts to increasingly extreme measures to preserve her youthful appearance, leading to some of the most disturbing body horror scenes seen in recent cinema. Fargeat’s use of practical effects and prosthetics enhances the film’s visceral impact, crafting moments of grotesque transformation that are equal parts shocking and mesmerizing. It’s a masterclass in pushing the limits of horror without losing sight of the film’s thematic depth.

Fargeat's direction is both bold and uncompromising. The visual style of The Substance is striking, with lurid colors, surreal camera angles, and close-up shots that reveal every wrinkle and imperfection on Elisabeth’s aging body. Benjamin Kracun’s cinematography captures this duality, juxtaposing Elisabeth's fading beauty against Sue’s flawless youth. This emphasis on physical details serves as a pointed critique of the unrealistic standards imposed on women, particularly in the entertainment industry.

The horror elements reach a fever pitch in the film’s third act, where Fargeat truly lets loose. The final scenes are filled with grotesque imagery and unsettling body transformations, pushing the viewer’s tolerance to the edge. Yet, the horror is not without purpose—each shocking moment reinforces the film’s message about the dangers of idolizing youth and rejecting the natural ageing process. The relentless pursuit of perfection leads Elisabeth into a nightmarish descent, culminating in a third act that is as horrifying as it is unforgettable.

Moore’s performance is central to the film’s emotional weight. She brings a raw vulnerability to Elisabeth, drawing on her years of experience in Hollywood to deliver a performance that is deeply personal. The pain, anger, and desperation she expresses resonate far beyond the screen, making Elisabeth’s journey both tragic and relatable. Qualley’s portrayal of Sue, meanwhile, captures the darker side of ambition, embodying the youthful arrogance that comes with being the industry’s latest darling.

What makes The Substance stand out in the crowded horror genre is its willingness to tackle complex issues with a fearless approach. Fargeat doesn’t shy away from the harsh realities of aging in Hollywood, but instead confronts them head-on. Her feminist perspective offers a powerful critique of the male gaze and the impossible beauty standards that women are forced to uphold. By blending horror with social commentary, Fargeat creates a film that is as thought-provoking as it is disturbing.

The film's sound design further amplifies the discomfort, turning ordinary sounds into instruments of horror. From the nauseating squelch of medical procedures to the grotesque noises of characters devouring food, every auditory detail is designed to unsettle. The film’s oppressive atmosphere is enhanced by its synth-heavy score, which heightens the tension throughout.

Yet, despite its shocking content and disturbing visuals, The Substance offers moments of biting humour. The film’s satirical tone often veers into the absurd, poking fun at the ridiculous lengths people will go to preserve their youth. This blend of dark humour and horror makes the film an engaging, if not entirely comfortable, viewing experience.

The Substance serves as a damning indictment of Hollywood’s obsession with youth and the way it discards women who no longer fit its narrow standards of beauty. Fargeat's direction is unapologetically bold, and her critique of the entertainment industry is sharp and unrelenting. While the film’s grotesque imagery may not be for the faint-hearted, it is a powerful exploration of the pressures placed on women to conform to unrealistic ideals.

In a genre often dominated by male perspectives, The Substance stands out as a feminist body horror masterpiece. Its fearless performances, bold direction, and thought-provoking themes make it a film that will linger in the minds of viewers long after the credits roll.

The Substance is in NZ cinemas from September 19, 2024