Diamantino

Diamantino

On paper I should hate this—quirky/gonzo satire of celebrity culture with an age-of-Trump throughline plus a noticeable Malick influence—but Gabriel Abrantes and Daniel Schmidt have got the fucking goods. Hard for me to really explain why; I'd need to see more of their work to identify their auteurist profile. But the choice of tones is consistently surprising (I can't stop thinking about the out-of-left-field ferocity and beauty of the final showdown between Aisha and the sisters), I found its queer-coded romance really well-handled, and I almost cried at the end. One of the best things I've seen all year.