Blue-Grotto

A devious yet frequently overlooked Mexico City defense attorney, Rita, attracts the attention of Manitas, a notorious drug lord and criminal mastermind. Manitas has an interesting request and one that Rita entertains at her peril. For staging his murder, secretly obtaining the perfect surgeon, and providing for his family, Manitas will make Rita rich. The trick is that he will be reborn as she; Emilia. Things go well for a time, but the past begins to creep back. Emilia misses her kids and wife, and doesn't like the new influences on their lives. Emilia struggles to live half in one life, and half in another.

This combined narco-thriller, musical, romance, comedy, character-driven social piece, and gender affirmation drama is mind-blowing. The film bumps around to different and interesting locations around the world too. While the film has many plot twists, director Jacques Audiard maintains firm control of the narrative. I really admire and appreciate his work. It is amazing that a film can be so thrilling and funny, and yet manage to get in a plug about the 100,000 plus people who have disappeared in Mexico due to drug violence, but Audiard does it.

True to the film's multi-faceted and surprising nature, the actors won a combined award at the Cannes film festival for their roles (Zoe Saldaña, Selena Gomez, Adriana Paz, and Karla Sofía Gascón).

The film is intriguing and fascinating because it never loses sight of the human nature component. Emilia's feelings are natural for what someone in her shoes might ask and wonder about. For example, was she really in love and did people love her? Further, I am enthralled with the French style, particularly its rawness. No one pulls any punches, and no censors are active with their censoring. Pride, truth, forgiveness, love, and more, are all on full display.

A view of Dhaka from high above the city streets, a bowl of spiced Kachchi, music, fresh air, and walking in a park; such little things bring so much happiness and pleasure. Saba provides them to her paraplegic mother, Shirin, as often as possible, but it is frustrating to not have much of a life of her own. When Shirin's health deteriorates, Saba is forced to find a job and beg a relative for money and favors. She has some success in this, and yet can't seem to keep up with Shirin's worsening condition. Saba faces a choice, follow the money or her heart.

"What do you wish for most in life?!"

This gripping character study provides a fascinating glimpse of the struggle to live with dignity in a faraway, bewildering city, yet a situation that is familiar to everyone. "If you want to send a message," said director Maksud Hossain "go to Western Union." He provides beguiling characters instead. Hossain was talkative at this world premiere screening at the Toronto International Film Festival even though he had to deal with a loud and unruly member of the audience. The man claimed to be Hossain's "biggest fan," but in reality, he certainly wasn't.

Actor Mehazabien Chowdhury (Saba) was sitting right next to me in the front row throughout the screening and I didn't even notice until she jumped up to appear with Hossain for the question-and-answer session at the end. In my defense, she sat down in the darkness and after the film began. Mehazabien is a star of TV dramas, took on an uncharacteristic role in this film, and appreciated the chance to be someone more authentic and real.

The film has pleasing depth; television sets in the background speak of the first metro trains coming to Dhaka after the project was started 17 years ago, bullying and corrupt police officers provide a snapshot of living in Bangladesh (no consuming alcohol or kissing in public, yikes!), and more. Saba is a compelling film about letting go and living with grace and an open heart. How I love to travel to a distant corner of the world through such stories and art.

Sunshine is on the verge of joining the national gymnastics team and going to the Olympics, when she loses focus, careens off balance, and falters. Dreams nearly in her grasp shift to distant phantoms as she realizes she is pregnant. Shaken, fearful, desperate, and determined not to lose her rightful place on the national team, Sunshine searches the underground of the city for abortifacients. Abortion and even divorce are illegal in the Philippines, so Sunshine has few options and few people she can trust. Just then a mysterious young girl appears in the darkness and crowded streets with knowledge of Sunshine's heart that surprises her and touches her deeply.

"I wanted to be brave for these girls," said Maris Racal (Sunshine) "who have no one else to turn to." Racal is intrinsically believable in her role. In the conservative religious culture of the Philippines and with the lack of access to reproductive support, many girls are in crisis. The issue is relatable and timely not just in the Philippines, but in many other countries including, unfortunately, our own.

At this world premiere screening at the Toronto International Film Festival, director Antoinette Jadaone said she got the idea for an imaginary friend from the film Jojo Rabbit. As part of her film research Jadaone interviewed girls who had abortions. She hopes the film sparks conversations and change, that it is part of the solution for the country, and helps girls in such situations make their own decisions.