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Genesis (#110 of 2)

Locarno Film Festival 2018 Genesis, Glaubenberg, & Too Late to Die Young

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Locarno Film Festival 2018: Genesis, Glaubenberg, & Too Late to Die Young

Locarno Film Festival

Locarno Film Festival 2018: Genesis, Glaubenberg, & Too Late to Die Young

Growing pains and burgeoning sexual identity take center stage in several titles duking it out for the Pardo d'Oro, or Golden Leopard, at this year's Locarno Film Festival. Of these, Genesis, a multi-stranded meditation on the joy and misery of adolescence by Canadian writer-director Philippe Lesage, seems most likely to find an audience beyond the festival circuit. The film focuses largely on the relationship woes of a pair of privileged step-siblings living in suburban French Canada: Guillaume (Théodore Pellerin), a preppy, quick-witted class clown at an all-boys boarding school, secretly harboring feelings for his best friend, Nicolas (Jules Roy Sicotte), and Charlotte (Noée Abita), who feels she's outgrown her noncommittal boyfriend, Maxime (Pier-Luc Funk), and sets off looking for love in all the wrong places.

House Playlist: Grimes, Labyrinth Ear, & Napolian

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<em>House</em> Playlist: Grimes, Labyrinth Ear, & Napolian
<em>House</em> Playlist: Grimes, Labyrinth Ear, & Napolian

Grimes, “Genesis.” Claire Boucher’s work as Grimes has always played like an exercise in arty distraction. Just when you think you’re going to get a beautiful electro-pop song (see “Swan Song” and “Crystal Ball”), she dives headlong into loop-fueled flightiness. On “Genesis,” the second single from her upcoming album, Visions, Boucher defies expectations in the opposite direction, sticking to the lilting climb of the track’s opening bassline and building on, rather than abandoning, its octave-skipping melody. There are points when “Genesis” sounds like Enya backed up by CANT, but it’s one of Grimes’s most fully realized songs—catchy without having to jettison its intricate details, percussive while melodic, and wonderfully weird. Kevin Liedel