Lean on Pete

In a festival that is offering a good number of thesis films -from the consumerist and environmental debacle of 'Una vida a lo grande' ('Downzising') to the acceptance of the difference in 'La forma del agua'-, a film as 'Lean on Pete', the new work of the young British filmmaker Andrew Haigh, gives us back the delicacy of good character cinema: one in which the psychology of history and the physical relationship of the actors with the scenarios that surround them they are everything. The fourth film by the director of the very British 'Greek Pete', 'Weekend' and '45 years', is the first incursion of Haigh in the American landscape and culture, specifically, the marginal side of Portland, Oregon. There they share a filthy Charley apartment (Charlie Plummer, a discovery) and his womanizing father. Dragged into idleness by the lack of stimuli, Charley sees the light when he starts working for Del (Steve Buscemi), a caretaker of second (or third) row horses. It seems that Charley opens a horizon of calm, but the father's tendency to get into trouble will break this serene utopia.

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