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‘The Freshly Cut Grass’ Review: A Keenly Observed if Familiar Portrait of Marital Malaise in Argentina

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‘The Freshly Cut Grass’ Review: A Keenly Observed if Familiar Portrait of Marital Malaise in Argentina

Argentinian director Celina Murga’s new feature The Freshly Cut Grass (El aroma del pasto recién cortado) probably should have been called The Grass Is Greener, so much is it about adults desperately searching for happiness outside their married lives, only to realize they may have been better off staying home in bed and throwing on Netflix.

Following a pair of 40-something professors who teach at the same university, and who both start affairs with younger students that wind up blowing up in their faces, the film’s rather original structure tells two parallel stories that mirror each other without ever once intersecting. That novelty, as well as strong performances from a cast of six, help boost a movie that says nothing entirely new about adultery, marriage, or midlife crises, resulting in a relatively pedestrian if keenly observed ensemble drama.

The Freshly Cut Grass

The Bottom Line

It takes more than two to tango.

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Venue: Tribeca Film Festival (International Narrative Competition)
Cast: Joaquín Furriel, Marina de Tavira, Alfonso Tort, Romina Peluffo, Emanuel Parga, Verónica Gerez
Director: Celina Murga
Screenwriters: Celina Murga, Juan Villegas, Lucía Osorio

1 hour 54 minutes

Executive produced by Martin Scorsese, who held the same credit on Murga’s previous features The Third Side of the River and A Week Alone, the film follows a similar modus operandi by focusing on the turmoils of Argentina’s professional class. But Grass is also chattier and more openly romantic than the director’s other work, chronicling the sexual longings and deceptions of Generation Xers looking for love in all the wrong places.

The set-up is somewhat reminiscent of Woody Allen’s Husbands and Wives, although the location is Buenos Aires and the characters are all educated members of the country’s bourgeoisie: Natalia (Marina de Tavira) and Pablo (Joaquín Furriel) teach agronomics in the same college, are each married with two children and are both flirting heavily with one of their students.

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In Natalia’s case, that student is the helpful, hunky Gonzalo (Emanuel Parga), while in Pablo’s case it’s the free-spirited, punkish Luciana (Verónica Gerez). Things aren’t going great at home for either professor, whose significant others — Hernán (Alfonso Tort) and Carla (Romina Peluffo), respectively — are unemployed and unhappy, leaving the two teachers to gradually wander into the arms of their very apt pupils.

Nothing feels altogether surprising in Muraga’s scenario (co-written with Juan Villegas and Lucía Osorio), except for the fact that Natalia and Pablo are basically living through the same exact story without either of them knowing it. From scene to scene, we cut between the two as they simultaneously cheat on their spouses, get better acquainted with their young lovers and try to conceal things on the home front. They both eventually realize that such things are much easier said than done, especially when photos of them in revealing poses with their students are leaked onto social media.

Despite the narrative redundancy, there are some subtle differences between the plotlines: Natalia experiences a kind of sexual awakening with Gonzalo, while Pablo seems to be rediscovering his youth alongside Luciana. Natalia’s husband, Hernán, reacts to the news of his wife’s cheating by temporarily walking out on her, while Carla decides to remain at home and suffer in secret when she finds out about Pablo’s affair. Gonzalo seems to be genuinely smitten with the older Natalia, while Luciana’s tryst with Pablo is just another facet of her carefree life, even if she clearly has real feelings for him.

The Freshly Cut Grass pinpoints all these minor differences without stressing them too much, resulting in a drama that feels authentic but also far too subdued. The film is carried less by its somewhat familiar plot — or rather, its two matching plots — than by solid turns from the ensemble cast. De Tavira, who memorably played the mother in Alfonso Cuarón’s Roma, is a standout as a middle-aged woman who comes to realize the limits of her own happiness, as well as the hard sacrifices required to obtain it.

Murga ultimately presents adultery as a necessary step for married couples looking to rekindle their romances and re-evaluate their commitments — an idea that seems slightly archaic at a time when open relationships and polyamory are all the rage, at least in lots of contemporary movies and TV series. The director’s vision of Argentina’s downtrodden modern love lives is nonetheless not without hope, showing how it may take a trial by fire, and a little bedroom action on the side, to keep things afloat.

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Full credits

Venue: Tribeca Film Festival (International Narrative Competition)
Production companies: Tresmilmundos Cine, Mostra Cine, Infinity Hill, Dopamine, Nadador Cine, Weydemann Bros.
Cast: Joaquín Furriel, Marina de Tavira, Alfonso Tort, Romina Peluffo, Emanuel Parga, Verónica Gerez
Director: Celina Murga
Screenwriters: Celina Murga, Juan Villegas, Lucía Osorio
Producers: Juan Villegas, Celina Murga, Valeria Bistagnino, Tomás Eloy Muñoz, Axel Kuschevatzky, Cindy Teperman
Executive producers: Martin Scorsese, Valeria Bistagnino, Tomás Eloy Muñoz, Juan Villegas, Phin Glynn, Delfina Montecchia, Juan José López, Pedro Barcia, Jakob Weydemann, Jonas Weydemann, Paulette Bresson, Benjamín Salinas Sada, Fidela Navarro, María García Castrillón
Cinematographer: Lucio Bonelli
Production designer: Maria Eugenia Montero
Costume designer: Mariana Dosil
Editor: Manuel Ferrari
Composers: Luciano Supervielle, Gabriel Chwojnik
Casting director: María Laura Berch
Sales: TDO Media
In Spanish

1 hour 54 minutes

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Movie Reviews

MOVIE REVIEW: Pixar’s Hoppers is laugh-out-loud funny

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MOVIE REVIEW: Pixar’s  Hoppers  is laugh-out-loud funny

The Snapshot: Pixar comes out swinging with an energetic and cuddly comedy that pairs big laughs with an earnest message about living alongside nature.

Hoppers

9 out of 10

G, 1hr 44mins. Animated Sci-Fi Family Comedy.

Directed by Daniel Chong.

Starring Piper Curda, Bobby Moynihan, Kathy Najimy, Jon Hamm, Dave Franco and Meryl Streep.

Now Playing at Galaxy Cinemas Sault Ste. Marie.

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True all ages fun is increasingly hard to find, and hoping for great, original works out of Hollywood is only getting rarer from the major studios. Thankfully, Disney and Pixar’s Hoppers is making the search a little easier.

Director Daniel Chong (best known for the TV series We Bare Bears) has masterfully directed a frantic masterpiece that is worthy to stand among iconic greats in Pixar’s esteemed catalogue. Filled with bustling action, a brave moral standing, and an endless parade of cuddly animal heroes, Hoppers is a dam great time.

A beaver dam great time, that is.

The story is a bit unusual, set in the northwestern town of Beaverton, Oregon, where a local University student and nature activist named Mabel (Piper Curda) is in a constant fight with the town’s development-driven mayor (Jon Hamm) over a highway expansion over a local glade and nature preserve.

Things gets wild, however, when Mabel’s consciousness gets sucked into a beaver robot through a process called “hoppers” – and suddenly becomes a literal friend of the forest, setting off a chain of events I dare not spoil.

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One of the strongest elements in Hoppers is Jesse Andrews’ terrific screenplay, built on a story structure that has made Pixar’s work stand out among family entertainment for the last 40 years. (Part of this film’s release, co-incidentally, marks the studio’s 40th anniversary this year.)

Not only has Andrews filled the plot with multiple organic surprises that repeatedly heighten the stakes of Mabel’s quest to save the glade, but the script also balances the peacefulness of nature to – anchor the story – with the frazzled panic of modern human life to develop the humour.

Getting these juxtaposing elements to work is done swiftly by Chong, Andrews and the talented voice ensemble bringing it altogether. The actors above are all commendable, but the scene stealer is Bobby Moynihan (of SNL fame) as beaver leader King George.

Moynihan’s George is smart, sincere, and socially aware that teaches Mabel some core lessons without making it overly obvious to the audience. Still, the film as a whole effectively gets its messages across about what a realistic plan for living in harmony across species actually looks like – and how to go about trying to do the right thing.

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Pixar’s original works have struggled for several years, mainly upended by the COVID pandemic ruining the box office prospects of multiple great movies, including Soul, Turning Red and Onward.

Get ready now for Hoppers to take the spotlight both commercially and among repeat viewings for kids – the film is laugh out loud funny and filled with heart. This is the best original film from Pixar since Coco almost a decade ago.

Read more here: You can’t miss Pixar’s Coco (2017 review)

The only small critiques, in fact, is that the main conflict doesn’t fully emerge or develop until halfway through the film, and the pacing is a bit slow until we get to the actual animal “hopping” that comes at the end of the first act. What’s also missing is the ethereal discovery of poignancy that made Pixar’s earliest filmography seem truly special.

Still, don’t let these small quips deter you. Hoppers is the first great film of 2026 and an absolute blast watching at the cinema.

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Children, parents, grandparents, neighbours, your mailman – everyone should see it this weekend. And seeing it sooner is a great way to encourage the development of more original, thoughtful and fun movies like this to be made.

Hop to it, beavers!

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‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

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‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

Pankaj Kapur in ‘Jab Khuli Kitaab’
| Photo Credit: ZEE5

Cracks in conjugality constitute a common conflict device in Hindi cinema. Usually, the male commits the bhool and expects forgiveness. Most fissures appear early, but what if a grandmother reveals a long-buried truth? Can the man accept it as easily as he expects forgiveness? Seasoned actor and theatre practitioner Saurabh Shukla gives new meaning to a prescribed book, making us both chuckle and reflect.

Being a cinematic adaptation of his play, the constraints of the medium are not completely erased, but it shines as a heartfelt exploration of love’s endurance.

The film’s core premise revolves around a decades-old secret — Anusuya’s (Dimple Kapadia) confession of an indiscretion early in their marriage — that surfaces after she awakens from a coma. This revelation forces Gopal (Pankaj Kapur) to re-examine 50 years of trust through the lens of this buried truth as a forgotten ad hoc presence in his life threatens to become a permanent peeve. Enter Negi (Aparshakti Khurana), a young client-chasing lawyer who becomes an unlikely facilitator of tough conversations, legal proceedings, and emotional confrontations.

A still from the film

A still from the film
| Photo Credit:
ZEE5

Jab Khuli Kitaab (Hindi)

Director: Saurabh Shukla

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Duration: 115 minutes

Cast: Pankaj Kapur, Dimple Kapadia, Aparshakti Khurana, Sameer Soni, Nauheed Cyrusi, Manasi Parekh

Synopsis: Gopal and Anusuya’s decades-long marriage is shaken by a revelation.

Though the transgression is a distant memory, its emergence shatters Gopal’s sense of shared space with Anusuya. He questions whether the life he built was an illusion. The woman he cared for seems suddenly unfamiliar. The film asks questions that may seem flimsy but persist in memory. For instance, Anusuya’s love for poetry that Gopal never really discovers, or the concept of marzi (inclination) in relationships.

Meanwhile, the revelation shakes the family unit. The parents initially try to shield the children from the truth, but the tension inevitably seeps in. Initially, it seems the son and son-in-law are bitten by the Baghban bug, but as the film progresses, the writing provides space for a dialogue on how companionship extends beyond the couple.

The film quietly reflects on the role of memory in a marriage, treating it as a central force that both sustains and disrupts long-term bonds. Gopal’s growing dementia suddenly seems like a cure for his marital problem. Without underlining, Shukla also explores the impact of the revelation on Gopal’s social psyche. Suddenly, a seemingly progressive man starts behaving like a parochial uncle, as we find dozens of them around us these days. Is it always the personal that shapes the political socialisation? Another uncle reminds us that laughing too much leads to days of sorrow, as if the Almighty has assigned us a quota of happiness.

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A still from the film

A still from the film
| Photo Credit:
ZEE5

Kapur’s masterful control shines through in Gopal’s progression from bewilderment and stubborn pride to vulnerability and, eventually, the rediscovery of love. Over the years, Kapur has shone in the estuary of comedy that holds a tragedy in its fold. He lives the script’s shifting tones. From the tender caregiving scenes in the beginning to the profound internal shift in demeanour and body language toward the film’s resolution— the transformation feels earned and believable.

It is hard to believe Dimple as a wilting wife, but soon we realise it’s the gravitas in her voice and personality that makes Anusuya a believable picture of regret and resilience.

We know the coma is more like a metaphor, but the medical aspect is treated with a heavy hand. The plot unfolds in a somewhat linear and foreseeable way, with the revelation and its consequences following expected beats. The contrivances, the dot-to-dot mechanics of storytelling, surface in the second half as if the director is keen on arriving at the crux without peeling the layers properly. But it is the chemistry between Shukla and Kapur that prevents this bittersweet dramedy from becoming schmaltzy. 

Jab Khuli Kitaab is streaming currently on ZEE5

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‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

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‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

In cinema logic, sharks, especially great whites, make excellent characters in animation. From Bruce in Finding Nemo to Mr Shark, the master of disguise in The Bad Guys, these apex predators turn their great gummy mouths with many pointy teeth into jolly good fellows.

In Hoppers, the 30th animation film from Pixar, there is a great white called Diane (Vanessa Bayer), who, despite being a scary assassin, has such sweet, shining eyes and a warm smile that one cannot help but grinning back.

Hoppers (English)

Director: Daniel Chong

Voice cast: Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, Dave Franco

Storyline: A fierce animal lover uses a new technology to converse with animals and save their habitat from greedy, self-serving humans

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Runtime: 104 minutes

We first meet Mabel (Piper Curda) as a little girl trying to set all the animals in school free and being sent home for her pains (and also because she bites one of the teachers trying to stop her). Her busy mother drops Mabel with her grandmother (Karen Huie) who shows her the peace and quiet that can be hers if she only stops to listen.

The glade where grandmother Tanaka teaches her this valuable life lesson becomes a special place for Mabel. Years later, after her grandmother has passed, 19-year-old Mabel is a college student and still fighting for animal rights.

Matters come to a head when the mayor of Beaverton, Jerry Generazzo (Jon Hamm) plans to blow up the glade to build a freeway. Mabel tries to get signatures from the citizenry to stop the freeway plans, but that comes to naught as people quickly turn away from the zealous Mabel.

Frustrated, with no recourse in sight, Mabel chances upon a beaver making its way to her university’s biology lab. First worried that her biology professor Sam (Kathy Najimy) is doing some unspeakable animal experiments, Mabel is nonplussed to find that Sam, with her colleague Nisha (Aparna Nancherla) and graduate student Conner (Sam Richardson), have developed a revolutionary technology to transfer human consciousness to robot animal.

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Mabel uploads her consciousness into a robot beaver and sets off to thwart the mayor. Seeing the world from the animals’ perspective gives Mabel a unique point of view. Hoppers has jokes, chases, largeness of heart and solid science — not consciousness-switching with robot animals or flying shark assassins but the fact that beavers are the environmental engineers of the natural world.

The voice cast is wonderful, from Bobby Moynihan as the beaver king, George to Dave Franco as Titus, the prickly butterfly who becomes the insect king after Mabel accidentally kills his mum — the Insect Queen, played with terrifying grandeur by Meryl Streep.

The animals are delightfully delineated, from the spaced-out beaver, Loaf (Eduardo Franco) to Ellen (Melissa Villaseñor) the grumpy bear. The animation is lovely, with each of the animal and human characteristics clearly outlined. From the mayor’s grasping to Sam’s brilliance, Mabel’s fervour to Loaf’s stillness, and the different animal monarchs’ regality, it is all given marvellous life.

ALSO READ: ‘The Bride!’ movie review: Maggie Gyllenhaal’s glam-goth Frankenstein can’t hold its stitches

The “pond rules” ensure that the animals are not completely anthropomorphised — a sticky point in animation films where carnivores and herbivores hang together without even a sneaky licking of lips!

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Smart, funny, exciting, honest, and touching, Hoppers is the kind of film you can watch with the bachcha party and elders alike, with a happy grin. And then there is Diane of the red, red lips and sparkly white rotating teeth — yes, Hoppers boasts that level of detailing.

Hoppers is currently running in theatres

Published – March 06, 2026 07:08 pm IST

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