What a premise! This film had "proto-Haneke emotional thriller" written all over it! And then... this. This damp squib of a film. Deary me. After such promise this turkey hits every cliche and coincidence it possibly can on its way to going absolutely nowhere. Those reviews! I can't help but suggest we take off our rose-tinted spectacles and proclaim that, sometimes, the MUBI emperor walks the streets unclothed.
Skillfully executed thriller that slowly escalates into a psychological drama, but it smart enough to avoid too much "drama". A film about random mistakes and their price, the line between good and evil that is often subjective and hard to distinguish. The whole experience is quite engaging, supported by strong performances and the unique South African realities.
3.5 Tension abound, the discomfort is just up there all the time to the very end. A dark-skinned black woman leading a film of this genre and style is very very rare, so I particularly appreciate that. I do think it runs a bit too long though. Great performances from Rayna Campbell and Rapule Hendricks (Kane)
Great performances from the three leads, especially the young boy, who manages to carry such an important role in the film. The coincidences were very unbelievable in a film so naturalistic and there could have been a slightly more symbolic approach at times but overall a very good film.
Layla, a young single mother in South Africa, is hired as a polygraphist and becomes a suspect in the constant presence of mistrust. A sort of African-noir with great performances all around in particular Rayna Campbell as Layla and Terry Norton but specifically Rapule Hendricks as Layla's insolent but loving son. Worth watching and far better than Marais' previous "At Ellens Age".
Pia Marais follws up At Ellen's Age with another interesting look at a crossroads in the life of a rather unique female character. This time it is all about Layla (Rayna Campbell), a South African single mother who finds a lot of stress and trust issues attached to her new job, a polygraphist. Extra stress comes from the fact that Layla and her young son are trying to keep a big secret themselves.
A very tense and tightly constructed suspense thriller. A single mother is doing the best she can to raise her young son by taking a good job as a polygraph test monitor. An unfortunate event happens and she gets trapped in a world of lies, deception and evasiveness. So good thematically. It's quite engaging and you truly feel for this lady and her boy. A great bit of genre cinema from South Africa.
The movie's premise of truth remained constant throughout the story. The cognitive dissonance at play with her job as a polygraphist and her own secret, drives the story point of interest. However, its transitions about certain scenes makes the story confusing at points and begs questions as to why a scene is relevant. For all purposes, it is a sophisticated film with entertaining drama and music selection.
This thriller by Pipa Marais offers a closely observed tangle of misadventures and mistakes by a single mother transitioning into a new job in a casino in a rural area of South Africa like the Transvaal or Bophutswana. August Diehl plays an enigmatic role as part of the twisted tale.
Pia Marais’s “layla Fourie” was one of a kind, without doubt this film is a slow burning thriller that uses a snowball effect of lies to unravel the film. A single mother who resides in South Africa lives a simple life trying to make it day by day, Layla and her young son represents the deepest pits of oppression in the most joyful manner. The scenery serves as an essential kit to help build suspense within the film
Ein vordergründig leiser Film, mit einem ganz schön ausgebufften und tapferen Jungen, dem "eigentlichen Hauptdarsteller", wie man so schön sagt. Die Story mag ebenfalls ihre Gemeinplätze haben, aber das stört nicht weiter, denn sie ist angenehm atmosphärisch umgesetzt worden.