STARS AT NOON

As thick as the story may sound, make no mistake; 'Stars at Noon' is not a plot-driven film; the above premise takes place in the first 40 minutes of its 135-minute runtime. As with many of Denis' films, 'Stars at Noon' is elliptical, frustratingly so at times, more preoccupied with the sensations and salaciousness of a romantic thriller than with the typically elaborate plot entanglements of the subgenre. This is reflected in the downright unlikeable natures of Trish and Daniel; I have never witnessed two on-screen characters so lost in exploring each other's bodies even in the face of immense danger. It takes a talented actor to play and sell an unlikeable central character (a must for many of Denis' protagonists), and Qualley and Alwyn both hit it out of the park. Despite this, they struggle to find a spark together, a move that may turn audiences off given how central the romance is to the story, but in fact really works. Denis deliberately keeps audiences in the dark on just how much of their relationship is driven by an actual spark, or the mutual experience of a dire situation, or their perceived value in the other to improve their predicament, or the desperate need to cling onto someone while everything else falls apart. All of this is heightened by the obvious fact that neither Trish nor Daniel are being totally honest with the other, and their relationship becomes a waiting game of how long it will take to implode.

The source material is prime real estate for the thematic sandbox Denis has played in for the entirety of her career - colonialism, displacement, and the nihilism that comes with dealing with circumstances outside of one's control – but this time, she amplifies the tension by using the pandemic as a backdrop for the story. No other film scene this year has sent my blood pressure higher than Trish and Daniel visiting a COVID-19 testing site on the border of Costa Rica. Like her leads, Denis is also far more occupied with the feel of these worlds, rather than fleshing them out with just why Daniel is pulling Trish into sauced-up car chases through the streets of Nicaragua. This is of course, a very deliberate move on Denis' part, but in choosing to dance around the waters instead of wading into directly into them, 'Stars at Noon' loses some of its potential bite that would further help to justify its existence.

While its sprawling, slow and opaque nature may turn many audiences off, 'Stars at Noon' is a sensual and surprisingly humorous experience for those willing – and able to – get on its wavelength. Don't be surprised if it grows on you in the days and weeks after realising what the film actually is, and not what many expect it to be.