Luca Guadagnino has emerged as a director renowned for his exploration of sensuality and emotionally charged themes. Films such as I Am Love, A Bigger Splash, Call Me By Your Name, and Bones and All showcase his penchant for provocative, character-driven narratives. His latest endeavor, Challengers, continues this trend, offering audiences a deep dive into the emotional complexities of his characters, a hallmark of the Sicilian auteur’s cinematic style.
Zendaya stars as Tashi Duncan, a ferocious tennis prodigy whose portrayal embodies the epitome of the male gaze. Mike Faist and Josh O’Connor deliver compelling performances as Art and Patrick, two tennis pros entangled in a rivalry fueled by their shared affection of Tashi. Challengers intricately navigates through time, seamlessly weaving between the present, where Art faces off against his former best friend in a career-defining match, and the past, revealing the intricate dynamics of their relationship with Tashi and each other, and the consequential events shaping their professional – and personal – lives.
By masterfully moving its narrative in nonlinear fashion, Guadagnino shifts the audience’s perception of the two suitors throughout the film. Like a thrilling tennis match, Guadagnino volleys our emotions back-and-forth by serving up fresh perspectives. The downside of this approach is the risk of highlighting too many flaws and contradictions of each character, leaving viewers like myself uncertain of whom to support by the film’s conclusion.
Zendaya, Faist, and O’Connor deliver standout performances in Challengers. Zendaya’s Tashi is fierce and cunning, while Faist’s Art embodies passivity and subservience, and O’Connor effortlessly portrays toxic masculinity. Their acting prowess, coupled with Marco Costa’s dynamic editing and Trent Reznor and Atticus Ross’ electrifying score, elevate the film into a sexy and stimulating popcorn flick. Where Challengers double faults is its excessive runtime and occasional lack of subtlety, suggesting reluctance on the part of Guadagnino and screenwriter Justin Kuritzkes to fully trust their audience’s interpretation.
Challengers stands out as Guadagnino’s most accessible film yet, offering audiences entertainment over art. Despite my rather lukewarm reception, I found myself drawn to its allure – a mostly captivating blend of steamy suspense and intrigue, cleverly disguised within the framework of a sports film.
What are Challengers Awards chances? Reznor/Ross have a shot to be nominated for their Original Score – a consistent possibility whenever the pair collaborates. Marco Costa’s editing work could also earn recognition, mirroring Pamela Martin’s nomination for another tennis-themed film, King Richard. However, the impact of Challengers on the awards race may be better assessed through the reception of Guadagnino’s other release this year: Queer. Plot synopsis and cast pedigree are key indicators for forecasting the Oscar race, and Queer checks both of those boxes. A decent box office return for Challengers could potentially provide the boost for Queer’s (and Guadagnino’s) awards campaign later in the year.
Other April musings:
Dev Patel’s directorial debut, Monkey Man, delivers a high-octane action/thriller reminiscent of the adrenaline-fueled John Wick series. While it may appeal to
fans of the genre seeking intense action, I personally found the emphasis on gratuitous violence and minimal plot development to be less satisfying. Patel demonstrates skill at the helm, marking a commendable first venture, yet I anticipate his future projects to explore more original storytelling with a touch of restraint from going over-the-top.
In March, Michael Mohan unveiled the chilling thriller Immaculate, featuring Sydney Sweeney delivering a career-best performance as a young novitiate entangled in a terrifying secret. April followed suit, delivering Immaculate’s twin sister, The First Omen. While both films leaned too heavily on jump scares, the captivating presence of their two young stars shone through. While Sweeney excelled in Immaculate, it was Nell Tiger Free’s portrayal of Damien’s mother in the franchise’s unsettling origin story that truly captivated me. Both actresses showcased their talents, solidifying themselves as budding stars to keep our eyes on.
Finally, April brought in Alex Garland’s Civil War, a “controversial” film about a not-so-distant dystopian America. Set against the backdrop of internal strife, the film follows four war photographers/journalists embarking on a journey to the capital, where the conflict reaches its climax. Kirsten Dunst and Cailee Spaeny deliver remarkable performances as the seasoned reporter and her protégé, respectively. Despite its controversial label, Civil War remains impartial, refraining from aligning with any specific party. Garland skillfully juxtaposes Texas and California – two politically divergent states, historically – as unlikely allies in the war against the fictional ruling regime. This underscored the film’s neutrality, a stance that I feel was necessary for the subject to work. While I admired its unbiased portrayal of a troubling hypothetical, the narrative’s execution left something to be desired, veering into a rather predictable finale.
I don’t anticipate any Oscar nods coming for these four films, but I thought I’d share my thoughts on what else I watched in April.
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