Female Film Critics 24/375
The annual Thessaloniki International Documentary Film Festival celebrated its 26th edition from March 7 to 17, 2024. It proved to be a successful year for female directors, who took all three of the top prizes in the main International Feature Competition, with films which all, in different ways, address the current state of the world.
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Croatia’s Oscar submission is a subtle meditation on past influences in the life of an anthropologist. Anthropologist Ana (Marija Skaricic) is herself studied intensely by Dubravka Turic’s low-key examination of grief and moving on. Though the traces of the title refer directly to Ana’s area of interest – ancient grave inscriptions and rituals – Turic’s debut film is infused with a multitude of additional echoes from the past and whispers from the future. Those willing to fall into step with Turic’s rhythms will find themselves rewarded.
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A cab ride takes us across Paris and into the past in Christian Carion’s moving drama that will, by journey’s end, have motored its way to your heart and, most likely, your tear ducts. Charles (Dany Boon) is a stressed-out cabbie who is two points away from losing his license when he is offered a bumper fare to drive a passenger from one side of the city to the other. His pick-up is Madeleine (veteran star Line Renaud) and the lingering glance Carion shows her giving her house is enough for us to know that this is a one-way trip.
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An ambiguous tension sings throughout this meticulous courtroom drama after an author finds herself accused of killing her husband. Sandra Hüller plays writer Sandra, with Samuel Theis as Samuel, who is found dead from a fall in the snow by his young, partially-sighted son, Daniel (a compelling, intense performance from Milo Machado Graner). Whether Samuel’s death was an accident, suicide or murder hangs over the rest of the film. As Sandra faces a court case, we see that her guilt or innocence is merely one facet of her problems.
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