Unveiling ‘Concessions’: A Captivating Review of Mas Bouzidi’s Masterpiece at EIFF 2025

Mas Bouzidi’s film, Concessions, takes us to the Royal Alamo Cinema on its last day of operation. The story unfolds in modern times, with hints like vape pens and smartphones. The theater’s owner, Luke Plimpton, played by Steve Ogg, blames streaming for the cinema’s downfall. Yet, the film’s essence feels nostalgic, bringing back the spirit of the 90s.

Fans of Empire Records will see parallels in how Concessions explores a day filled with ups and downs for a small business staff. It highlights the joy and struggle of working in a theater—surrounded by movies but also dealing with mundane tasks. The main characters, Hunter and Lorenzo, engage in discussions while working the concession stand, reminiscent of the witty banter in Clerks.

Visually, the film captivates with vibrant 16mm cinematography by Derrick Chen, evoking a touch of Wes Anderson’s style through colorful and symmetrical shots. There’s also a nod to Quentin Tarantino, especially with veteran actor Michael Madsen portraying a fading stuntman, Rex Fuel. His character walks into the theater, creating a memorable scene that echoes iconic moments from Tarantino’s work.

However, while the film brims with nostalgic references, it somewhat falls short in crafting its unique narrative. The characters ponder the implications of the theater’s closure, particularly highlighting the contrast between Lorenzo’s ambitious future and Hunter’s stunted growth. Their conversations, filled with reflections that may sound profound in youth, sometimes lack clarity and depth.

Statistically, cinema attendance has been declining, with reports showing a drop of nearly 80% during peak pandemic years. A study by the National Association of Theatre Owners indicates that while box office revenue is recovering, many theaters are still struggling to adapt. This backdrop adds weight to the themes explored in Concessions, offering a glimpse into a culture grappling with change.

Some of its humor misses the mark. Jokes feel either too played out or overly obvious, which takes away from the sharpness of the dialogue. This highlights an irony; the film critiques a stagnant film culture while it too appears to be recycling outdated tropes.

For Hunter, the film enthusiast stuck in a phase of obsession, his journey mirrors that of many young people navigating their identities. The film nudges us to consider that being a “movie nerd” isn’t enough to forge deeper connections in life. In the evolving landscape of cinema, Concessions serves as a reminder of both the charm and struggles tied to our love for film.

Written by Ross McIndoe, a freelancer from Glasgow, whose work can be found at various outlets like The Skinny and Film School Rejects.

Source link