My review of Allan Deberton’s *Gugu’s World (Feito Pipa)*, a delicate and moving coming-of-age drama set in the dry landscapes of Ceará, Brazil. With an extraordinary performance by Yuri Gomes, the film introduces a boy whose exuberance, femininity, and confidence transcend conventional gender boundaries. While his grandmother’s fading memory threatens the freedom she has nurtured, his father struggles to accept him as he is. Beautifully observed and emotionally sensitive, the film creates a remarkable protagonist whose vitality and complexity sometimes exceed the dramatic strength of the story surrounding him.
La Gradiva follows French high-school students in Pompeii as buried desires, family histories, sexual tensions, and questions of identity surface among the ruins. Marine Atlan transforms archaeology into a powerful metaphor for adolescence and repression.
The film clearly belongs to the tradition of Slow Cinema, and at times recalls the work of Taiwanese filmmaker Tsai Ming-liang and the broader aesthetic associated with Taiwan’s Second New Wave: long durations, sparse action, quiet spaces, and a focus on everyday gestures rather than conventional plot development. But unlike the strongest examples of that tradition, The World Before never develops a sufficiently distinctive visual or emotional point of view.


