You Were Never Really Here

I have a great admiration for Joaquin Phoenix as an actor; he always manages to approach his roles in such an unconventional and unique way that it inevitably pulls every viewer deeply into the films in which he appears. That alone made me want to watch this art film, as his presence guarantees a certain level of quality. But I have to admit one thing... he was the main element that kept the film somewhat together; without him, the entire project would have fallen apart like a house of cards. Don’t get me wrong, I can appreciate a high-quality artistic endeavor that breaks away from established norms, but here the creators delivered a bit too much and at the same time, nothing substantial. The story was something I could tolerate, but the film offered almost no tempo or build-up. The only exceptional camerawork I found was the underwater scene, which was a real treat. On the other hand, it’s quite disappointing when only one scene out of an hour and a half captures my attention fully. Plus, I was expecting a more intense conclusion. It’s a shame. I give it 55%. (17/10/2019)

An indie version of Taken without everything that made Taken cool – stylish action scenes, likeable protagonists, courage and interesting visuals. And without everything that could have made this indie version into a great movie – a psychologically meaningful portrayal of the protagonist and her relationship to her protégé, artsy visuals or a deeper, probably existential message. It’s not totally boring; the film’s dogged effort to be different at all costs has its moments (for example, the kitchen scene with the wounded killer). But as a whole, it doesn’t rise above average, especially because of the unremarkable ending. (02/06/2017)

A straightforward film noir made as an art film, noble and action-free. We are shown bloody massacres only in mediated form or after the hammer has come to rest. The introductory exposition is unnecessarily long, even if it defines the relationship with his mother and the kind-hearted core of Phoenix’s role. The traumas of war (and equally of childhood) are clearer in the synopsis than in the movie itself. Although there’s no shortage of good ideas, it’s just not as hard-hitting as Drive. The acting is awesome, the traumas weighty, the dream sequence surprising, but the finale is just a less entertaining version of Taken with a tubby old guy instead of Neeson. (28/04/2018)

Thematically quite close to my heart. Child prostitution, people trafficking, but in this film everything is so blandly presented that even the decrepit Joaquin Phoenix, whom I usually like, failed to impress me. A visually cheap film, artfully shot, interesting cinematography, off-screen violence, and most of all, never-ending boredom. We Need to Talk About Kevin was a far better film by Lynne Ramsay. This is a failure. 35% (11/04/2018)

I didn't even get a chance to take a proper breath and the whole thing was over. This doesn't happen to me very often when watching movies, so despite some confusion in the narrative, I am extremely satisfied with it. Joaquin Phoenix takes on the role of a war veteran as if he had never played anyone else, and yet he has played so many diverse roles that few actors can boast of. He deservedly picked up some awards for his mesmerizing performance in this psychological thriller. For most of the time, I pondered the reason behind his actions and deeds, while my mind was constantly haunted by the highly unsettling music accompanied by nerve-wracking noises. I was very impressed by the visual sequences that complete the captivating atmosphere, which will probably remain in my memory for a long time. It will surely include the almost ritual burial of the mother in the lake depths. Even though there wasn't a full showdown at the very end, I wasn't disappointed because I wasn't really expecting anything like that. I gratefully acknowledge that, like the protagonist, everyone has to chew it over in their heads. And if you don't, a few blows with a hammer will certainly fix it. (80%) (08/06/2020)