Storyline
In present-day Nicaragua, a headstrong American journalist and a mysterious English businessman strike up a romance as they become embroiled in a dangerous labyrinth of lies and conspiracies and are forced to try and escape the country.
Directors
Cast
John C. Reilly, Margaret Qualley, Joe Alwyn, Benny Safdie, Danny Ramirez, Nick Romano, Stephan Proaño, Monica Bartholomew, Carlos Bennett, Sebastian Donoso, Héctor Moreno, Robin Durán, Jose Leonel Hernandez, Cristian Pulido, Luís Franco, Steven Garcia, Rogelio Chung, Dayan Rodriguez, Benito Tuñon, Moises Caballero, Bayardo Peralta, Emmanuel Barahona, Alexis Quintero, Carlos Serrano, Carlos Trujilo, Maria Quintero, Luis Barrios, Gustavo Pérez, Miroslava Morales, Elvira ‘Ellie’ Rodríguez, Mark Headley, Alejandro Castoverde
Trailer
Reviews
83
Denis, Andrew Litvack, and Léa Mysius’ dialogue is only strengthened by its occasional awkwardness, as it subsumes Trish and Daniel into the same disordered humidity that swamps the film around them. The frequent sex scenes become a dialogue of their own — the lovers feeling each other out in search of something they can actually trust.
82
When chewing through some oddly phrased text, Qualley’s non-verbal tics offer twice the information with half the winces, making “Stars at Noon” sometimes feel like two films in one. There’s the paranoid thriller and the dreamlike dirge; a steamy drama and its feminist reappraisal; the work of a master with the promise of new kinks to iron out and maybe greater heights to which to soar.
80
Partly because the characters look so healthily pretty, and partly because the mood is so woozy, The Stars at Noon feels more like a stylish pastiche of a Graham Greene novel than the story of real people battling their way out of a difficult, potentially deadly situation. It's beautifully made, but to enjoy it you have to relax, and let it wash over you.
80
Stars at Noon is at its best when it has Trish and Daniel suspended in horny limbo, with Denis building an atmosphere of sultry languor that makes the film feel as if it’s constantly stretching and circling, like a sleepy cat.
80
Trish is the plum part here, and a sensational Qualley — cycling through a ragged thrift-store wardrobe, with a lavish halo of dark curls that can’t help but recall her mother, Andie MacDowell — grabs it with both callused hands.
