As far as niche sub-genres are concerned, the “Summer When Everything Changed” film has certainly proved itself a reliable little lane for up-and-coming filmmakers to traverse, affording them the space to discover their own styles just as their subjects begin to discover themselves. Sometimes, the significant change depicted comes from a moment of subtly depicted life-altering trauma; sometimes it’s a moment of sexual awakening; oftentimes it’s both, but the power always comes from that synergy between art and artist—that feeling that the film exists as an inescapable piece of the filmmaker’s own past brought to the screen.

Perhaps this is where a film like Bonjour Tristesse deviates somewhat from expectations, for while the bones of this story could very well have spoken personally to debuting director (and writer) Durga Chew-Bose enough to send her towards this material in the first place, the material itself has been around since long before her own adolescent crossroads. An adaptation of a 1954 novel by Françoise Sagan—itself already adapted four years thereafter by none other than Otto Preminger—Chew-Bose’s film already has a steep hill to climb beyond the scope of her own memories (as is so often, though not always, the case with these films), and so the challenge becomes less one of recapturing subjectivity and more a challenge of creating it from scratch.

The subject of this well-worn tale of ennui is Cécile (McInerny), a teenage girl spending her summer in the south of France with her widowed father Raymond (Bang) and his French girlfriend Elsa (Nailila Harzoune). Cécile’s days are filled—as is the case with most films of this ilk—with meandering trips to the beach and cozy games of solitaire on the couch with a glass of wine, all in between courting her first love affair with a local boy, Cyril (Aliocha Schneider). It’s not until an old friend of the family, Anne (Sevigny), arrives to share in this vacation that the malaise of summertime gives way to more concentrated bouts of interpersonal horn-locking.

The first thing one may notice about Bonjour Tristesse, as is typically the case with films of this quietly crushing sabbatical nature—think Call Me By Your Name, Aftersun, Falcon Lake—is a concentrated emphasis on atmosphere. These films understand that to communicate what is so inarticulable to the child’s mind means communicating it, oftentimes, without words at all, instead letting the blistering heat of the sun or the invasive hum of cicadas fill the dead air that so often accompanies stolen glances. Chew-Bose is definitely privy to this notion, as her film makes a concerted effort to shoot the seaside of the day and the lofty trees of the night with equal emphasis to the words shared in their space.

It’s a concept that Drew-Bose understands, but not one that she executes all that effectively. This is mainly because Bonjour Tristesse, for all its emphasis on what can be communicated without words, seems entirely determined to undermine that notion at every turn with an endless stream of stilted, overworked dialogue exchanges. Nearly every line in the film feels written as though it was thought-up with the expressed intention of becoming an out-of-context pull-quote for teenagers unwilling to sit through a film this sparse to begin with—“Be wrong sometimes… it’s less lonely,” or “I love this time of day; there is so much possibility before lunch”—which may be an effective tool to make some characters appear more vapid or constructed than others, but doesn’t really serve a film of this tone when everybody speaks that way.

This may very well be a byproduct of the film’s literary origins—not only is Bonjour Tristesse based on a book, but Chew-Bose’s own prior artistic experience comes from writing a book compiled of essays—in which sensory experiences and complicated, contradictory thoughts must, by necessity, be expressed in words. If anything, though, this further emphasizes the challenge that comes with adaptation, and the laudable efforts of those who manage to adapt to the work to the silver screen and make that sensory experience more… well, sensory. Even the presence of Sevigny (in an ironic twist, an actress who made her bones on independent films becomes the most recognizable name in this one) does little to elevate the film, controlled as she may be in her grasp of the film’s stilted aura. Chew-Bose may very well have found something viscerally relatable in Sagan’s source material to warrant yet another adaptation, but rarely has the feeling of a warm summer day felt so foreign and frigid.

In the end, Bonjour Tristesse never quite lives up to its interest in harnessing the malaise of a quiet and confused summer, mostly due to its over-reliance on fatigued dialogue and thin characterization.

Score: 47/100

*still courtesy of Elevation Pictures*

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From the very first frame of Dea Kulumbegashvili’s April, an inexplicable sense of dread and unease takes hold. The opening moment feels like a sharp intake of breath that stays trapped inside you, forcing the audience to experience the same helplessness, scrutiny, and fear as the film’s protagonist, Nina, an OB-GYN who provides abortions for women in her rural Georgian town. After being questioned for delivering a stillborn baby, Nina’s practice comes under intense scrutiny, as she tries to persist in her duties despite the risk to her career.

Movie Name : Thudarum

Release Date : April 26, 2025
123telugu.com Rating : 2.75/5
Starring : Mohanlal, Arjun Ashokan, Shobana
Director : Tharun Moorthy
Producer : M. Renjith
Music Director : Jakes Bejoy
Cinematographer : Shaji Kumar
Editor : Nishadh Yusuf, Shafeeque V. B.
Related Links : Trailer

After starring in the massive and controversial film L2: Empuraan, Mollywood star Mohanlal takes a different path with a small movie called Thudarum. Released simultaneously in Malayalam and Telugu, here’s our take on the film. Read on for the full review.

Story:

Shanmugam, known as Benz (Mohanlal), is a middle-class taxi driver who treasures his black Ambassador car, treating it almost like a family member. He leads a content life with his wife Lalitha (Sobhana), son Pavan (Thomas Mathew), and daughter (Amritha Varshini). One day, when his car meets with an accident, the mechanic misuses it for illegal activities. In a desperate bid to reclaim his only source of livelihood, Benz approaches SI Benny (Binu Pappu). However, CI George Mathen (Prakash Varma) intervenes, setting off a chain of strange events. Benz is then asked to drive the officers to a wedding and later to a deserted forest area, where a shocking revelation awaits. What exactly happened, and are the officers involved in something more sinister? Thudarum unfolds the answers.

Plus Points:

Mohanlal is in top form yet again, delivering a deeply nuanced performance. He perfectly captures the simplicity and quiet dignity of an everyday man, effortlessly drawing viewers into Benz’s small world.

Especially in the second half, his restrained emotions and expressive acting stand out, reminding us once again why he remains one of the finest actors in Indian cinema. His commitment to the role, never once playing it like a ‘superstar’, reflects the respect he holds for his craft.

Prakash Varma is a revelation as a shrewd, calculating officer. His portrayal is so convincing that it evokes genuine anger from the audience, which speaks volumes about his performance.

Despite limited screen time, Sobhana leaves a lasting impact with her composed and graceful presence. Binu Pappu, Thomas Mathew, and the rest of the supporting cast also do a neat job in their respective roles.

Minus Points:

The story treads familiar ground and doesn’t offer much freshness. It’s a narrative that seasoned cinephiles would easily recognise. Writer K R Sunil and director Tharun Moorthy could have worked on a more layered and unpredictable script to truly elevate the experience.

The first half, although it sets up the premise, gradually loses momentum and feels sluggish after a point. Even after the interval, the film takes time to pick up pace again. This uneven narrative flow might test the patience of some viewers.

While it is commendable that the film avoids mass commercial elements like exaggerated action scenes and punch dialogues, the absence of high-voltage moments also leaves certain sections feeling a bit dry.

Several moments in the film might remind viewers of similar stories in the genre, and the major twist is not too hard to guess. A stronger and more gripping screenplay could have avoided the feeling of déjà vu.

Technical Aspects:

Tharun Moorthy shows flashes of skill in his direction but struggles to maintain a consistently engaging pace. A racier and more gripping narrative could have made a significant difference to the film’s overall impact.

Shaji Kumar’s cinematography is appealing, capturing the moods and settings effectively. Jakes Bejoy’s background score complements the story well, enhancing key emotional moments without overpowering them. However, the editing leaves room for improvement, particularly in the first half where tighter cuts would have made the film more crisp and engaging.

The production values are decent, and the Telugu dubbing is fairly acceptable. However, a glaring issue is the Telugu version itself – the movie title is misspelled compared to how it was originally promoted, and several spelling errors appear even in the opening credits. This reflects a clear lack of attention and interest from the team behind the Telugu release.

Verdict:

On the whole, Thudarum is a modest revenge drama elevated mainly by Mohanlal’s heartfelt performance. However, the predictable storyline, sluggish pacing, and lack of major emotional peaks prevent it from reaching its full potential. It is a watchable film if you are a Mohanlal fan or appreciate slow-burn dramas, but for general audiences, it is advisable to keep expectations in check.

123telugu.com Rating: 2.75/5

Reviewed by 123telugu Team