Last Party: Review. By Callum Ward.
After the success of his previous projects, Nicolas Dozol returns with Last Party, a compelling French coming-of-age thriller that defies genre boundaries. Set during a high school graduation party, the film centres on four teenagers—Angela, Alexander, Lily, and Ethan—each confronting their inner turmoil in a single night. When they’re unexpectedly locked inside, they face an existential dread, wondering if they’ll make it out or if this is indeed their last party.
The film initially sets an eerie, almost dreamlike tone, amplified by the movie’s technically impressive use of long takes. The film’s 28 intricate shots give it the illusion of a single, continuous shot that immerses viewers in the characters’ world. Dozol’s direction and Aurel Ganz’s cinematography shine, capturing each scene’s intimacy and tension while establishing a moody but cool aesthetic. The camera work, especially during moments of heightened intensity—such as Angela’s hallucinogenic tilt and Alex’s shocking injury—is masterful, reflecting the characters’ instability.
The cast delivers solid performances all around, effectively capturing the angst and tension of their characters. However, they’re somewhat let down by the script’s overreliance on classic high school archetypes—the jock, the popular girl, the nerd, the aloof rich kid etc. While these familiar roles provide a quick entry into the characters’ dynamics, they occasionally detract from the film’s more nuanced themes, making it harder for any one performance to truly stand out.
Niels Caron’s score deserves special mention, weaving an atmosphere of unease that fits seamlessly with the narrative’s dark undertones. The music enhances the film’s immersive quality, lending a persistent sense of nervous anticipation that builds up as the story unfolds. Yet, as the film weaves between characters, its ambitious goal of encapsulating young adulthood in one night occasionally falters. With limited screen time for each, certain characters’ backstories and motivations feel underdeveloped, making it challenging to fully invest in each narrative arc.
While Last Party excels in its technical execution and the cohesion between cinematography and score, some viewers may find the ending ambiguous, leaving more questions than answers. However, Dozol’s choice to leave the conclusion open can be seen as an invitation to reflect on the character’s journey and what they represent in the transition from adolescence to adulthood.
In conclusion, Last Party is an ambitious, visually striking addition to the coming-of-age genre, blending romance, drama, and horror with a uniquely choreographed style. It leaves a haunting, lasting impression, capturing the anxieties and fleeting joys of teenage life. For those interested in an intense, artistically crafted film that leans into emotional uncertainty, Last Party is an experience worth exploring.
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