Perhaps coincidentally, the title of "Wave" is reminiscent of Todd Strasser's 1980s YA novel, which became a staple of Gen-X and early millennial English courses, a strength in some easily digestible allegorical, as its story is a conceptually empowering student movement, a well-intentioned movement. Sebastián Lelio's new film The Wave is also a fast-built student movement, although in this case its politics has been in behavior in strictness and justice, rippling on a university campus, irritated by young women of male peers and employees' sexual misconduct towards young women. Inspired by the real-life #meta view as a demonstration that closed several Chilean universities in 2018, Lelio organized various testimony into a stylized modern dance musical centered on fictional victims, a bold approach, a bold approach that has brought numerous rewards to entertainment and message films.

The first feature that Lelio created in his home, the first feature he wrote in his home in Cannes’ non-competitive front belt, and made a purposeful first wall in his home, forming a spirited man, breaking various quarter (and fifth and sixth) walls, and purposefully giving up, a prominent and still a distinguished festival and will be onstage on the scene. The closest comparison is last year’s “Emilia Pérez”, which is less common in satirical and melodrama, despite Lelio’s fusion of stomping vocals and political cheerleading. Even the most formal romp, the film’s logo is characterized by a serious tone that makes it feel like work, especially given the two-hour runtime, which reveals the repetition of its speech and its dramatic sparsity.

"You all think you know your voice," said the voice lecturer at the San Diego University of the Performing Arts. Her comments are particularly directed at Julia (Daniela López, a newcomer selected from a national cast call), a promising student who is still struggling to reach the highest tone of her potential range. But if Julia hasn't yet found her voice as a singer, the film repeatedly underlines, she has further still to go in finding it as a woman: Her transformation from passive go-alonger, shy to speak truth to power, to crowd-mobilizing activist forms the spine of the script by Lelio and his female co-writers Manuela Infante, Josefina Fernández and Paloma Salas.

Anyway, Julia's class was suddenly called because the students were anxious a lot of Going to the university’s central courtyard, while under a huge banner reveals one of the building’s wings, proclaiming: “This university awards a degree to the rapist.” The crowd fell into a positively coordinated warrior-style dance routine, outspokenly calling on teachers’ predatory men to “slightly fuck,” the first and most fascinating in the film. Although the film’s goal is to accumulate performance impact, few melodies or memorable in the original songs in “Wave” are melodies or memorable – fewer than the Experimental Theater workshops.

It's little-known material between these same but undeniably shaky tactics that stagnate the proceedings and are disappointed by outspoken declarative dialogue and a one-note performance, as Julia's personal stories fall on the narrative of the film and the revolution on screen. In the opening moments of the film, he met Stalker-Y assistant coach Max (Nestor Cantillana) - a shaken, strobe-nightclub scene responded, with a violent bass soundtrack, and in later, more peculiar protest numbers - Julia eventually asserted that she was later sexually assaulted by him. Initially suspicion of her claims of survivor identity, her female friends dared to speak publicly about her experience, which in turn turned into Famous reason This carries the whole movement.

As a symbolic face of Chilean women, Julia is a convincing figure. As a personal personality, her vivid and less well-defined character is inevitably registered as a comprehensive person and also requires a representative of the working class that is under-platformed in this struggle. Although she hesitantly volunteered to take charge of the testimony committee as the university closed down, editor Soledad Salfate briskly folded the classmate’s story into a montage. Although many musical numbers are performed with the unity of shouting, the design of the film doesn’t really accommodate a sound rise. The wide range of satirical needles target hypocrisy, patriarchal victims, and privileged self-help remarks, which emphasize comfort concepts such as collective resilience to anger.

The film’s lively, uneasy structure really makes Lelio solve the appetite for more music fares on screen: he is a rare director of the genre, actually caring about watching full-body movement, rather than limbs edited into trash. DP Benjamín Echazarreta prefers tracking lenses that are pushing but not invasive, providing enough action space for the dancer when the camera itself moves to the rhythm, while the limited, saturated saturated palette has the proper marine blues and fleshy reds and contributes to Stark, the huge aggressive air. Finally, Brechtian's late film reality shift brings attention to Lelio's own conflict as male colleagues on this explicit feminist project, although the "Wave" has little extra honor for it calling itself.