ROOFMAN**** - BFI London Film Festival 2025 - Day 8

Derek Cianfrance (BLUE VALENTINE) returns to our screens with ROOFMAN - a rather melancholy, occasionally funny, but ultimately rather whimsical and moving true crime story.  The weird thing is that the dayglow poster and goofy plot set-up make you think you are walking into a gonzo crime caper.  And yes, the film may have elements of that, but it has far more depth and emotional heft. 

Channing Tatum (MAGIC MIKE) stars as the titular Roofman - a demobbed soldier with a talent for observation and charm to spare.  Without the cash to spoil his wife and kids, he turns to armed robbery, knocking off 45 fast food restaurants.  His kind heart and general goofiness get him caught, but his aforementioned observational smarts also allow him to plot an audacious prison escape. And all this is in the first forty-five minutes of the two-hour-plus film!  The balance of the film sees Jeffrey in a kind of purgatory: out of prison but on the lam and unable to spend time with his actual family. So, he ends up hiding out in a Toys’R’Us for literally months, hacking the security systems. Even more audaciously, he ends up making friends at a local church, and romancing local single mother and employee Leigh (Kirsten Dunst).  Jeffrey now has a new identity where he is the good guy, John, and everybody loves him - even Leigh’s emo teenage daughter. The problem is, he makes the same mistakes again and again: trying to buy people’s affections.

This is a film that floats along with mild good humour and a lot of warmth, thanks mostly to Channing Tatum’s innate charm and the fact that while he may be feckless he at least he owns his mistakes. It makes for an interesting contrast with JB Mooney, the lead character in Kelly Reichardt’s THE MASTERMIND.  Where Jeffrey is a loveable rogue who takes accountability but just can’t help himself, Mooney is an entitled prick.  They are both simultaneously brilliant and stupid.  But the former actually cares for his kids, and indeed seems to be a rather warm-hearted individual more generally.

I thoroughly enjoyed this film, not least for its heavy 1990s nostalgia and a lovely pair of cameos from Peter Dinklage as the dickish store manager and Ben Mendelssohn as the parish priest.  Kirsten Dunst brings so much heart and warmth and intelligence to everything she does, and Tatum is so charming, that it’s just a fun two hours.  Not a rollicking comedy as the marketing campaign would have you believe, but perhaps more worth your time for all that. 

ROOFMAN has a running time of 126 minutes. It played Toronto 2025. It was released in the USA last Friday.

PAST LIVES*****

The charm of the road not taken is that one can reminisce and reimagine safely from the comfort of that choice now being closed off.  Celine Song's debut feature PAST LIVES asks what would happen if the road not taken was never quite in the rear-view mirror but persisted as an option in the present day, tugging at one's sleeve and distracting us from the seemingly happy life now lived. What if our choices were still open to be re-litigated?

Nora (Greta Lee) and Hae Sung (Teo Yoo) are childhood sweethearts in Korea.  They are on the verge of a sweet pre-pubescent romance and even have a charming date in a park chaperoned by her mum when Nora's family emigrate to Canada.  

Twelve years later, Nora and Hae Sung rediscover each other via social media and create a Skype romance that moves rapidly from whimsical to serious and then frightening.  Frightening because an actual romance will require compromise: Hae Song has to do his military service and is committed to studying engineering in Korea; Nora has been accepted to a writer's retreat in Montauk. Both put their careers before their relationship.  

We jump forward another twelve years and Nora is seemingly happily married to fellow writer Arthur (John Magaro). They seem happy despite the cultural barriers between them. He tries to learn Korean to narrow the gap - to go with her into her instinctive dream language. But at the same time, as she explains to him, she doesn't feel Korean, especially when she contrasts herself to Hae Sung. He is "so Korean". She is Korean American. 

Hae Sung finally travels to New York and the weight of two decades of emotion become apparent. How does one weigh up the the pull of childhood love and cultural resonance against the reality of change, maturity and cultural difference? Is Hae Song drawn to - does he even know and understand - Nora now? Is she attracted to Hae Song or to a nostalgia for Seoul?

Song's film is delicate, quiet, elegant and wistful. It speaks to the impossibility of going back and recapturing a different time and place - a certain innocence.  But it is not melancholy. It celebrates the fact that people grow and move forward and that while this might make a rekindled romance impossible and undesirable, it acknowledges the need for.... well....acknowledgement. You can both love your husband and acknowledge your real feelings for a childhood sweetheart, and the potency of a fantasy of the road not taken.

The three leads are all strong in this film. But for me the standouts are Song's taut, spare script and cinematographer Shabier Kirchner's washed-out palette and framing. Often we see characters set apart from each other in the same frame, or filmed from a distance while their voices utter dialogue unrelated to that moment. We are at a distance, withheld from their true feelings, and this perfectly captures the ambiguity about what those feelings truly are.  At the end of the film, we know far more than the unseen couple speculating on the triumvirate's relationships at a bar at the start of the film, but we don't really know them fully.  And that is as it should be.

PAST LIVES is rated PG-13 and has a running time of 105 minutes.  It played Berlin and Sundance 2023 and was released in the USA in June. It will be released in the UK on September 8th.