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My Sunshine: Jesus director returns with poetic ice-dancing drama

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My Sunshine: Jesus director returns with poetic ice-dancing drama

4/5 stars

Rarely has figure skating been shown as so pure, poetic and sensual than in My Sunshine, Hiroshi Okuyama’s feature about two young ice dancers and their coach over one winter in a small town in Hokkaido, in Japan.

Following his award-winning 2018 debut Jesus, which revolves around the way a series of absurd apparitions changed a lonely boy’s life, the 29-year-old filmmaker has again made a simple premise go a very long way through an understated screenplay and intriguing mise-en-scène and by drawing heartfelt performances from his young cast.

Filmed in the classic four-by-three screen ratio and boasting a desaturated colour palette which gives everything a dreamy quality, My Sunshine revolves around Takuya (Keitatsu Koshiyama), a stammering boy who is as awkward at sport as he is with his speech.

Keitatsu Koshiyama as main character Takuya in a still from My Sunshine.

Bad at school in both baseball and ice hockey, the boy finds himself captivated by figure skating – or, specifically, the elegant star skater Sakura (Kiara Nakanishi). His perseverance in trying out pirouettes is noted by the girl’s coach Arakawa (Sosuke Ikematsu), who gives the boy proper skates and then private lessons.

Sensing a prodigy in the waiting, Arakawa begins to train Takuya alongside Sakura to compete in a pairs skating competition. Through this, the man rediscovers the joie de vivre he seems to have left behind after his retirement and relocation to the rural hinterlands.

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Teasing natural and dynamic turns from his cast – with Sosuke looking very much the part with his smooth moves on the ice – Okuyama delivers scenes that ooze youthful energy and human warmth.

In the film’s pièce de resistance, a scene depicting Takuya and Sakura’s full routine, the duo glide gracefully across the ice, their breathing and the crisp glissando produced by their skates saying much more about their emotions than words ever could, whether about their dedication to the sport or the unarticulated feelings bubbling within each of them.

(From left) Sosuke Ikematsu as coach Arakawa, Kiara Nakanishi as skater Sakura and Keitatsu Koshiyama as Takuya in a still from My Sunshine.

But My Sunshine is not all sweetness and light. Its descent towards tragedy is perhaps prefigured by Okuyama’s frequent positioning of his characters as small dots in vast spaces – an allusion, perhaps, to how their fates are somehow shaped by unspoken social forces they could not control.

And it is exactly such tacit norms which will eventually snap the trio’s growing bond.

Eschewing melodrama, Okuyama simply hints at the prevalent conservative attitudes in the town, the disapproval of Arakawa’s private life never really breaking into the open beyond one single word Sakura throws at her erstwhile mentor.

It is an altercation that is as brief as it is heartbreaking, and it speaks volumes about Okuyama’s deftness in evoking such emotions through his very economical storytelling and stylistic rigour.

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Movie Reviews

‘By Design’ Review: Juliette Lewis Plays a Chair in an Absurdist Comedy That Fascinates and Alienates

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‘By Design’ Review: Juliette Lewis Plays a Chair in an Absurdist Comedy That Fascinates and Alienates

Since her female-led Lord of the Flies riff Ladyworld premiered at Fantasia Fest in 2018, director Amanda Kramer’s films have gotten progressively weirder and more abstract. Her subsequent films Please, Baby, Please and Give Me Pity! were both experimental musicals shot and performed in a vintage style. Please, Baby, Please — the more ambitious of the two — boasted the return of Demi Moore, bringing her into the arthouse and paving the way for her career resurgence as the star of The Substance.

By Design also makes a point to bring back actresses Hollywood has been ignoring for years — Robin Tunney, Samantha Mathis, Melanie Griffith and, of course, Academy Award nominee Juliette Lewis. And in Kramer’s dreamland they don’t have to play tired moms or put-upon teachers; they can simply live a stylish life, quipping and conversing with each other onscreen.

By Design

The Bottom Line

Not for everyone, in a good way.

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Venue: Sundance Film Festival (NEXT)
Cast: Juliette Lewis, Samantha Mathis, Robin Tunney, Udo Kier, Mamoudou Athie, Alisa Torres, Madison McKinley, Clifton Collins Jr., Betty Buckley, Melanie Griffith
Director/Writer: Amanda Kramer

1 hour 32 minutes

The film tells the story of Camille (Lewis) a single, middle-aged woman carving out a quiet existence with her two best friends, Lisa (Mathis) and Irene (Tunney). After lunch one day, the women go shopping and Camille falls in love with a beautiful golden brown chair. The narrator (Griffith) refers to it as a stunner, and the sentiment is shared by almost everyone who sees it. The wood is high-quality with a smooth, chic design that would lend itself well to an elegant home. From the moment Camille sees the chair, she’s compelled to purchase it, despite how expensive it is. Camille, Lisa and Irene all fawn over the chair while the saleswoman Sarah (Madison McKinley) looks on with annoyance. The chair is so expensive that Camille has to go home that night and check her finances before returning to purchase it.

But the morning she arrives, cash in hand, the chair has already been sold to Marta (Alisa Torres) as a parting gift to her ex-boyfriend Olivier (Mamoudou Athie), a handsome and heartbroken pianist. Dejected, Camille asks Sarah if she can touch the chair before leaving. But once she does, something magic happens: Her soul leaves her body and enters the chair. 

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Irene takes Camille’s body home while her soul is wrapped up with the chair and delivered to Olivier. Its presence immediately improves his mood, and Olivier begins using the chair as emotional support. Marta has taken all the other furniture, so the chair sits in the middle of his home, serving as his only companion. Perhaps it’s Camille’s spirit that draws him to the chair, giving him comfort and allowing him to work through his loneliness.

Meanwhile, Camille’s body lies motionless in her apartment while her friends and family come over and try to spend time with her. Comedically, they all assume she’s giving them the silent treatment for one reason or another, and they become convinced she’s suffering from a deep depression. But our narrator reveals the truth: Camille isn’t depressed or jealous of any other person. Throughout the film, Camille’s favorite quote is repeated: “Resentment is like drinking poison and waiting for the other person to die.” Camille doesn’t want the money or love lives of her friends. She’s not depressed in any traditional sense, being content with the smallness of her life. It’s living that she seems to have little interest in. What she wants is to be adored without having to perform the tasks of being a real, live person. Camille wants to be coveted, desired and admired for simply being a beautiful thing. 

And Olivier loves her as the chair, perhaps because of Camille’s calming spirit. By Design is the kind of film that isn’t afraid to be corny, treating Olivier and Camille’s connection as man and chair as seriously as any other relationship. When Olivier goes to dinner with his friends, he brings the chair with him. When he sleeps, he dreams of people crowding him, intruding on his intimate time with it. Camille is just happy to be needed and provide care without having to be herself.

But eventually, as the people around them get increasingly frustrated with the odd couple’s dreamlike connection, real life threatens to kill Camille’s fantasy. Kramer’s script is philosophical, the film questioning the very nature of what it means to live and the burdens of emotions like love, hate and jealousy. 

By Design is a gorgeous film, with stylized interiors and attractive people in stylish, colorful clothes. The world Camille inhabits is a beautiful one and all she wants is to be one of the beautiful things a production designer would add to a scene. Why star in the film when you can just be still, waiting for admiring eyes? In contrast to Camille’s desires, By Design deploys a group of dancers who exist in her and Olivier’s dream spaces. It’s in these moments that the film feels more like performance art, externalizing a pleasure so abstract that it defies verbal explanation.

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But Griffith’s narration puts all the absurd scenes into context, her iconic, flirty and feminine voice gently guiding us through the film’s theatrical beats. Much like Give Me Pity!, By Design feels like a performance piece centered on one woman’s unique mind. The insights and artistic inclinations that populate Kramer’s work aren’t for everyone, and there’s a good chance By Design won’t connect with most viewers. But the alienating nature of the premise is what makes it fascinating, pushing us to question how we want to be seen and experienced as people in the world. With all the constant demands of living, wouldn’t it be peaceful to sit still for a little while?

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Movie Reviews

Deva Movie Review: Shahid Kapoor Exudes High Octane Fire & Rage As A Flawed & Roguish Cop In This Engaging Thriller Flick!

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Deva Movie Review: Shahid Kapoor Exudes High Octane Fire & Rage As A Flawed & Roguish Cop In This Engaging Thriller Flick!

Deva Movie Review Rating:

Star Cast: Shahid Kapoor, Pooja Hegde, Pravesh Rana, Pavail Gulati, Kubbra Sait, Girish Kulkarni

Director: Rosshan Andrrews

Deva Movie Review Out (Photo Credit – Instagram)

What’s Good: Shahid Kapoor’s performance, background score, action sequences, an engaging first half.

What’s Bad: An underwhelming climax, the twist introduced in the end does not strike a chord, loopholes in the plot in the second half, and few supporting characters go underutilized.

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Loo Break: Even though the second half loses the momentum, we recommend the interval because of this one being an overall riveting thriller.

Watch or Not?: All the fans of Shahid Kapoor can certainly give this one a watch.

Language: Hindi

Available On: Theatrical release

Runtime: 156 minutes

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User Rating:

Rosshan Andrrews has probably managed to showcase Shahid Kapoor in his massiest avatar with Deva. The actor exudes swag and oodles of roguish charm, which also surpasses the machismo that he possessed in Kabir Singh. It is also a subtle ode to Amitabh Bachchan’s ‘Angry Young Man’ era, wherein he witnessed the flawed but fiery hero putting things into momentum in his own way.

The plot revolves around Deva Ambre (Shahid Kapoor), a far-from-perfect police officer who prefers to stick to his roguish and aggressive ways of handling a crime case. Having put his own father in jail, he battles his own inner demons, which makes it difficult for him to abide by the judicial rules and protocols. His only weakness is his friendships with his colleagues and childhood friends, Rohan D’silva (Pavail Gulati) and Farhan Khan (Pravesh Rana). He also falls in love with a crime journalist, Diya Sathaye (Pooja Hegde).

However, when a personal tragedy turns his life upside down, he realizes that there is a mole within the system. Just when he has uncovered the truth, Deva suffers a life-threatening accident that wipes out his memory. He must go to any lengths to unravel the truth again from the remnants of his past memory.

Deva Movie Review Out (Photo Credit – Instagram)

Deva Movie Review: Script Analysis

Deva has an engaging pace in the first half. Along with the protagonist’s character buildup, we are introduced to the police authorities trying to nab a dreaded gangster (Manish Wadhwa) and his entire nexus. However, it is soon hinted that there is a mole within the police system, which helps him stay one step ahead of the police.

Deva’s aggression and rage toward solving the case are showcased as a sharp contrast to the discipline and principles that his colleagues adhere to. The writing does not waste any time to accelerate the storyline of a police investigation after a tragedy occurs. The suspects, underlying secrets, and ulterior motives of the characters make the first half extremely interesting, keeping you hooked to the screens.

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However, it is the second half which falters. The plot twist leading to the climax appears to be very disoriented and does not strike the chord that you expect. It appears to be rather underwhelming after such a strong buildup in the second half. There is also a disconnect with Shahid’s performance, even though he manages to keep the energy high. There are also some loopholes which do not let you abide by the climax.

Deva Movie Review: Star Performance

Talking about the performances, Shahid Kapoor is an absolute treat to behold. He does immense justice to all the shades of his character, from the rowdy and flawed cop to a colleague sensitive about his friends, he delivers the varied aspects of this complex role flawlessly. There is a reason why this role takes the bar higher than Kabir Singh. The actor unleashes the required angst, fire, and ferocity in his performance and keeps the energy levels consistent.

Pravesh Rana and Pavail Gulati impress amongst the supporting star cast. However, Pooja Hegde, along with Girish Kulkarni and Kubbra Sait are heavily underutilized. A cameo appearance by veteran Marathi actor Upendra Limaye makes way for an entertaining watch.

Deva Movie Review Out (Photo Credit – Instagram)

Deva Movie Review: Direction, Music

The technical aspects of the Rosshan Andrrews directorial are top-notch. The cinematography and the production design add a fine catalyst to the plot. The background score by Jakes Bejoy, which plays the rap song ‘Marji Chaa Maalik’ keeps the adrenaline levels high, especially during the action sequences.

Deva Movie Review Out (Photo Credit – Instagram)

Deva Movie Review: The Last Word

Irrespective of the flawed second half, especially the climax, Deva is definitely one of Shahid Kapoor’s strongest works. The actor puts his heart and soul into this one, which is reflected in every frame. This promises to be a treat for all the die-hard fans of the actor.

3 star

Deva Trailer

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Deva released today on 31 January, 2025.

Share with us your experience of watching Deva.

Must Read: Azaad Movie Review: Ajay Devgn, Aaman Devgan & Rasha Thadani Starrer Is A Compelling Tale Of Loyalty, Rebellion & Courage; The Black Beauty Is The Cherry On Top!

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Sundance 2025: all the latest movie reviews and updates from the festival

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Sundance 2025: all the latest movie reviews and updates from the festival

A new year means a new Sundance Film Festival, and a fresh crop of promising original features that could go on to become awards season darlings in a few months. It might be hard to top last year’s festival where Dìdi, A Different Man, and I Saw the TV Glow all made strong showings. But with films like Atropia, Bubble & Squeak, and Didn’t Die on the roster, this year’s Sundance might just do the trick.

Naturally, The Verge is going to be taking in as much of Sundance as we can and posting bite-sized reviews of everything we see. We’ll also be posting longer reviews and sharing trailers, and you can follow along here to keep up with all of the news out of the festival.

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