There is a moment — little more than a sidelong glance that lingers fractionally too long — when the uneasy, sinking feeling that Charlène Favier’s Cannes 2020-labeled debut has created to that point becomes an abrupt, stomach-dropping plunge. It’s when you realize that of course this was the story it was going to tell, and almost feel foolish for holding out the hope that its wildly imbalanced central relationship might play out any other way. After that glance, “Slalom” has fewer surprises to pull than fears to confirm, which is not a criticism — that the film remains compelling despite the depressing familiarity of its beats is impressive. It’s also part of the point: We know how this story goes; doesn’t mean it doesn’t need to be told.
And so instead of following the usual dramatic rhythm of revelation and reaction, Favier draws us deep into the psychology of her 15-year-old protagonist,...
And so instead of following the usual dramatic rhythm of revelation and reaction, Favier draws us deep into the psychology of her 15-year-old protagonist,...
- 6/25/2020
- by Jessica Kiang
- Variety Film + TV
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