By Devika Girish
This month’s selections feature coming-of-age narratives from India, Italy, Canada, Switzerland, and Poland, where young people face the grueling realities of growing up.
‘Vaazhai’
At first glance, Mari Selvaraj’s latest film might appear to be a delightful children’s adventure — but from the beginning, ominous undertones suggest this is a story where the blissful naivety of youth will confront sobering truths. Far too soon, the weight of grown-up obligations encroaches on the life of Sivanaindhan (M Ponvel). The child of a struggling widow in a Tamil Nadu village, Sivanaindhan must labor in the plantain fields during his school breaks to help alleviate his family’s accumulating debts. An exceptional student, he looks forward to school, contrasting with his trepidation about weekend plantain hauling.
Selvaraj masterfully intertwines the dual narratives in “Vaazhai,” depicting both the children’s and adults’ experiences. Much of the film follows Sivanaindhan and his companion Sekar as they bicker about their favorite movie idols, scheme to win the attention of a crush-worthy teacher, and relentlessly seek to escape their tireless plantain responsibilities. In the backdrop, older workers are seen bargaining with their supervisor for fairer wages, facing threats and intimidation. These two storylines converge in a remarkable finale, exposing the film’s historical and autobiographical essence, drawing on a tragic, little-known incident from Selvaraj’s own youth. (Stream it on Hulu.)
‘Fireworks’
The charming encounter that brings the teenage leads of “Fireworks” together is a quintessential meet-cute. Gianni (Samuele Segreto) and Nino (Gabriele Pizzurro) collide while riding their mopeds, tumbling over each other. Nino sincerely apologizes to the stunned Gianni — who was escaping from bullies — and leaves behind a crumpled drawing of fireworks instead of contact details. Gianni soon learns that Nino and his father earn their living by creating stunning firework displays for village celebrations.
It’s these nuanced details that elevate this LGBTQ-themed coming-of-age film set in Sicily beyond its well-trodden themes of hesitant discovery, secretive romance, and heartache. Director Guiseppe Fiorello enriches the setting with vibrant, nuanced aesthetics. The narrative unfolds in eye-catching venues: a bar filled with chauvinistic patrons where Gianni resides with his mother and abusive stepfather; Nino’s family home with its lively, soccer-fanatic atmosphere; and the religious festivals where they orchestrate breathtaking firework shows. As heartbreak inevitably arrives, it is softened by the realization that even within this confined, rustic universe, there linger secrets and opportunities, hinting at a hopeful future for both Gianni and Nino. (Stream it on Tubi.)
‘I Like Movies’
The early 2000s backdrop of “I Like Movies” is evident from the outset, highlighted by various cleverly integrated details of the era. The main character, Lawrence (Isaiah Lehtinen), a high school senior in Burlington, Ontario, often visits a DVD rental shop. Alongside his best friend, Matt, he watches episodes of “Saturday Night Live” featuring Jimmy Fallon. Moreover, the cost of studying filmmaking at New York University, where Lawrence aspires to enroll, is a staggering … $90,000. A more precise time-stamp reveals itself with the anticipated release of Paul Thomas Anderson’s 2002 film “Punch-Drunk Love,” which Lawrence eagerly awaits.
Lawrence embodies the archetype of an earnest film enthusiast, and “I Like Movies” similarly showcases that passion through its array of pop culture references and niche details aimed at a discerning audience. Struggling at school due to a lack of popularity and grappling with his father’s death from a few years prior, Lawrence clings to the hope that attending NYU will transform his life. To save up for college, he takes a job at the video rental store, only to learn a sobering lesson about the realities of life from his manager, who once aspired to be an actress.
While watching “I Like Movies,” viewers may be reminded of Greta Gerwig’s “Lady Bird” with its themes of small-town teenage struggles and dry humor, though it also harbors aspects reminiscent of “Punch-Drunk Love”: Writer-director Chandler Levack’s script offers his protagonist no easy resolutions, delving into the harsher realities beneath the sweetness. (Rent or buy it on most major platforms.)
‘Retreat’
A father and son journey to a secluded cabin amidst the Swiss wilderness. The imposing trees, thick snow, and rugged rocks create a picturesque yet isolating atmosphere. Grand, sweeping shots encapsulate the son, Benny (Dorian Heiniger), as a solitary figure against the expansive natural scenery. But what motivates their escape remains uncertain, though hints of the mother’s new partner and a subtle tension between the two suggest the awkwardness of a divorced father trying to bond with his child.
As the father, Michael (Peter Hottinger), demands against using mobile devices, accumulates an excessive stock of canned goods, and hints at impending doom, the unsettling nature of their retreat becomes apparent. “Retreat” unfolds through sparse dialogue and stunning visuals, allowing its drama to surface through nuanced gestures and the contemplative performances of Heiniger and Hottinger. Despite minimal action, latent tensions fester, and by the film’s striking conclusion, a profound transformation of sorts seems to have quietly emerged. (Stream it on Film Movement Plus.)
‘I Never Cry’
Characterizing Piotr Domalewski’s film as dark humor barely does justice: It grapples with deep grief and leaves little room for ease while, thanks to its vibrant lead Zofia Stafiej, it manages to embody a sharp, resilient wit. Seventeen-year-old Ola lives in Poland with her overbearing mother and a brother requiring constant care due to his disabilities. Their father departed for a job in Ireland some time ago but promised to purchase a car for Ola once she mastered driving.
When “I Never Cry” begins, Ola has just failed her driving test for the fourth time. Shortly afterward, she receives tragic news: her father has died in a workplace incident. Arranging a funeral hinges on transporting his body back to Poland, a daunting process involving significant costs and paperwork, leading Ola’s mother to dispatch her barely-formed daughter to Dublin on her own.
Though others berate Ola for her smoking, can you really blame her? She embarks on a Kafkaesque quest to unravel the life of a man she barely knew while navigating the labyrinth of death’s bureaucracy in an unfamiliar land, armed only with a backpack and a fierce refusal to accept rejection. Ola’s tragicomic exploits paint a stark image of Eastern European migrant workers’ realities: their unstable working conditions, makeshift families, and the monumental sacrifices they endure for the slim chance of a better future. (Stream it on Tubi.)
