I Swear

I Swear (British Film Festival Media Preview)

I Swear (British Film Festival Media Preview) Rating

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1

Many people still think that Tourette Syndrome is all about swearing, not understanding the deeper complexity and impact of the condition. With education comes acceptance. That is the message at the heart of I Swear, a biopic about John Davidson, the Scottish activist who helped raise awareness of the syndrome after developing symptoms as a teenager. Written and directed by Kirk Jones, the film is a compassionate, beautifully told story that is both heart-warming and heart-wrenching, often at the same time.

While the plot was safe and highly predictable, it was the stunning performances that grabbed my attention and didn’t let go. Robert Aramayo, from Rings of Power, plays an adult John so beautifully that all the physical ticks and outbursts feel natural and authentic. There’s such a warm humanity to John, and his rejections and setbacks are truly heart-breaking. The swearing, while tragic in their origin, are also timed and delivered so well you can’t help but laugh, despite the dramatic consequences. Some lines are absolute classics, with John yelling at the police he has drugs on him, or the judge that he’s a ‘see you en tea’. Aramayo is supported by fantastic cast including Peter Mullan, Maxine Peake, and Shirley Henderson. There isn’t a weak link in the chain.

 

 

The story begins when John first notices uncontrollable ticks when he’s only 13. Scott Ellis Watson is brilliant as the young John, convincingly playing a confused and scared young boy as the condition destroys what looks like a promising football career and leads to the break-up of his parent’s marriage. With the condition unrecognised and unaccepted, John is considered a trouble-maker, bullied and outcast not only by other school children but the broader community. It’s devastating.

When John grows up, he lives with his mother who struggles to cope with his behaviour and insists that medication is the solution. When John meets Dottie, the mother of an old school friend, his life begins to change. By showing compassion and understanding, Dottie makes John feel accepted and safe. She tells him never to apologise for something that can’t be helped. This acceptance empowers John to build a normal life for himself, eventually helping others with the condition and educating the community about Tourette Syndrome. There were a few moments where the drama became a little too forced, but I gave the authenticity the benefit of the doubt. It might actually have happened that way.

I Swear is not only moving and inspirational, but educational, turning misunderstanding into revelation. The entire theatre came out raving to each other about the power of the story. I can’t recommend it enough.

I Swear is showing as part of the British Film Festival at Palace Cinemas Moore Park from November 5 to December 7, with a program full of the best of British Cinema.

To book tickets to I Swear (British Film Festival Media Preview), please visit https://britishfilmfestival.com.au/films/bff25-i-swear.

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Cloud

Cloud

Cloud Rating

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Premiering out of competition at the 2024 Venice International Film Festival, Cloud is a slow-burning psychological thriller that peels back the digital veneer of modern ambition and exposes the hollow desperation that simmers underneath. Directed with icy precision and a haunting visual stillness, this unsettling Japanese film follows Yoshii, an online reseller whose brush with success begins a descent into paranoia, deception, and vengeance.

Yoshii, scraping by reselling goods on the internet, stumbles upon a too-good-to-be-true deal—a medical machine bought for next to nothing and resold at a massive profit. High on this first big taste of victory, he quits his job, distances himself from his one close friend (also in the reseller game, but far less lucky), and relocates to a quiet lakefront house in the countryside with his girlfriend, setting up shop in near isolation. He hires a seemingly naive local villager as his assistant—but from the outset, nothing in Cloud is what it seems.

With its brooding and sparse score and long, languid shots, the film establishes a pervasive sense of unease. Yoshii is visibly on edge, hiding behind a pseudonym online, self proclaiming to be unsure if what he’s selling is even legitimate. The rural calm quickly gives way to dread: an object hurled through his window in the dead of night, a police investigation into counterfeit sales, and whispers of betrayal ripple through the tension-soaked air.

 

 

As the walls close in, Cloud deftly shifts between psychological suspense and social commentary. The internet, a tool for connection and entrepreneurship, becomes instead a breeding ground for fraud, resentment, and faceless revenge. Reviewers accuse Yoshii of being a crook, and dark forces gather—literally. An online mob forms, headed by none other than his estranged old friend, each member with a personal vendetta.

The film’s third act spirals into violent chaos. Yoshii, blind to the consequences of his opportunism, is eventually kidnapped and nearly executed in a live-streamed act of vengeance—only to be saved by his assistant, revealed to have a shadowy past in organized crime. The girlfriend, the assistant, the friend—each character has been complicit in a shared unraveling, a reckoning born not just of greed, but of modern alienation and rage.

Director, Kiyoshi Kurosawa, doesn’t offer clean moral judgments, nor easy redemption. Instead, Cloud paints a murky portrait of a world where ambition overrides empathy, and where digital anonymity can turn ordinary people into victims—or monsters. What starts as a tale of a hustle ends as a chilling parable about the cost of chasing success in an economy built on illusion.

To book tickets to Cloud, please visit https://japanesefilmfestival.net/film/cloud/.

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The Life Apart

The Life Apart (Italian Film Festival)

The Life Apart (Italian Film Festival) Rating

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3

The Life Apart is everything aficionados of European cinema long for — poetic obscurity, powerful performances, and cinematography so lush you want to step inside the frame. Paired with a hauntingly beautiful classical score, it delivers a sensory experience that lingers long after the final credits roll.

Set against the backdrop of an elegant Italian palazzo, the film captures the glamour and quiet dysfunction of bourgeois family life. The story begins with joy: the long-awaited arrival of a baby to a seemingly perfect couple — a striking, Penélope Cruz look alike, mother and her accomplished husband, a respected doctor. The nursery is pristine, a devoted maid is ever-present, and an affectionate aunt is ready to help. Yet, this ideal world unravels the moment the baby, Rebecca, is born with a prominent birthmark on her face and neck.

From here, the narrative dives into the mother’s fragile psyche. Her descent into mental illness is portrayed with empathy and depth — torn between shielding her daughter from a cruel world and hiding her away entirely. The father’s helplessness and the strength of the mysterious aunt, who champions Rebecca’s education and introduces her to the piano, offer a poignant contrast.

 

 

As Rebecca grows, so does her resilience. She finds solace and acceptance in an unlikely friend from a very different walk of life — a spirited girl who challenges societal norms with ease. Through this friendship, Rebecca discovers self-worth and agency, even as her mother spirals further into despair.

The film does not shy away from tragedy, but it also doesn’t let grief define its ending. Instead, it gently guides the audience — and its characters — toward hope, growth, and a redefinition of beauty, love, and family.

Themes of fate, identity, societal pressure, and inner strength are woven with subtlety and sophistication. Director and cast handle emotional nuance with a light but sure touch, while the cinematography elevates every moment into painterly perfection.

A must-watch for lovers of European cinema and classical music, The Life Apart is both a heartbreaking and life-affirming journey. Let it transport you to Italy and envelop you in its rich atmosphere. This is the kind of film you carry with you, reflecting on its quiet power long after the screen fades to black.

To book tickets to The Life Apart (Italian Film Festival), please visit https://italianfilmfestival.com.au/films/iff25-the-life-apart.

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Film Review: The Boy with Pink Trousers (2025 ST. ALi Italian Film Festival)

The Boy With Pink Trousers (Italian Film Festival)

The Boy With Pink Trousers (Italian Film Festival) Rating

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Film Review: The Boy with Pink Trousers (2025 ST. ALi Italian Film Festival)

The Boy with Pink Trousers is based on the actual story of Andrea Spezzacatena, a fifteen-year-old boy from Rome who was severely cyberbullied and is loosely built on his mother’s, Teresa Manes, autobiographical novel, ‘Andrea: Oltre Il Pantalone Rosa’. The film is an engaging sensitive retelling of Andrea’s story, beautifully acted by the three young leads and is a cautionary tale in this age of social media obsession.

The film begins with Andrea recalling his birth and contemplating what would have happened in his life, shifting then to an older Andrea watching DVDs of him and his family in happy times and wondering when his parents’, Teresa (Claudia Pandolfi) and Tommaso (Corrado Fortuna), relationship began to fail. Moving then to teenaged Andrea (Samuele Carrino) practicing piano as Teresa receives a call from Andrea’s school informing her that he has won a scholarship because of his excellent academic achievement. To celebrate, they go to the funfair with Daniele (Pietro Serpi), Andrea’s younger brother.

As the story progresses, Andrea auditions for a choir that will perform for the Pope where he becomes in awe of another student Christian (Andrea Arru) also auditioning for the choir. At the start of the eighth grade Christian, who is repeating a year, and Andrea become classmates. Andrea is befriended by fellow eight grader Sara (Sara Ciocca) after Andrea deliberately gets into trouble in class. Andrea becomes friends with Christian after Christian asks him to help him with his studies but Christian distances Andrea after Andrea is chosen to perform for the Pope, but Christian isn’t.

 

 

After Andrea’s parents split, he confides in Christian who shares the contents of their discussion with the rest of the class. As Andrea and Sara move into High School, they discover that Christian, who was going to a different school, has joined their school and is in the same classes as them. Christian plots against Andrea which leads to calamitous bullying.

The Boy with Pink Trousers is director Margherita Ferri second full-length feature film and she and writer/producer, Roberto Proia, treat the subject matter delicately highlighting Andrea’s journey in the film sympathetically. Martina Cocco’s cinematography is subtle and warm, adding depth and emotion to the film. The music by Francesco Cerasi sits well with the events in the plot. The main theme is “Canta ancora” performed by Arisa which won Best Original Song at the Nastro d’Argento.

The three young leads, Samuele Carrino, Sara Ciocca and Andrea Arru, deliver excellent performances, particularly Carrino who carries most of the screen time of the film with aplomb. They are superbly assisted by Claudia Pandolfi and Corrado Fortuna.

The Boy with Pink Trousers was the highest grossing Italian movie of 2024 for good reason, it is a compassionate portrayal of a sensitive topic featuring exceptional performances by the young cast that will bring a tear to your eye.

Reviewed by Rob McKinnon

Rating; 8 out of 10
Genre: Drama
YouTube trailer: The Boy with Pink Pants trailer I PÖFF28

To book tickets to The Boy With Pink Trousers (Italian Film Festival), please visit https://italianfilmfestival.com.au/films/iff25-the-boy-with-pink-trousers.

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