movies
‘In Waves’ Review: Eloquent Rendering of First Love, Loss and Surfing
The first animated film to open the Cannes festival’s Critics’ Week, In Waves is an understated marvel, its elegant hand-drawn simplicity bolstered by a strong emotional throughline. The love story it tells — spirited, tender and wrenching — begins with the clumsy meet-cute in a suburban Los Angeles high school of AJ, an introverted skateboarder, and Kristen, a gutsy surfer. They’re vivid characters brought to warm life by unfussy animation and the superb performances of Will Sharpe and Stephanie Hsu. Moving within a few short years from blushing infatuation to friendship to committed partnership, these two will weather some of life’s harshest storms.
Based on AJ Dungo’s 2019 graphic novel of the same name, In Waves is propelled by the immediacy of autobiography; its main character, AJ (Sharpe), is a visual artist whose life is transformed by Kristen (Hsu) and her love of surfing. Phuong Mai Nguyen, at the helm of her first feature, infuses every frame of the movie with a quicksilver sensory power, from the sun-kissed watercolor palette of its coastal SoCal setting to the black-and-white scenes of an imagined Hawaiian princess, whose symbolic heroism — and connection to Kristen — is more poignant each time she appears. In addition to these monochrome sequences, the main action is intercut with scenes of AJ that foreshadow a solitary interlude for a committed surfer and artist.
In Waves
The Bottom Line
Tender, sharp and luminous.
Venue: Cannes Film Festival (Critics’ Week)
Cast: Will Sharpe, Stephanie Hsu, Johnny Young, Alejandro Antonio Ruiz, Griffin Puatu, Taiana Tully, Jacki Jing
Director: Phuong Mai Nguyen
Screenwriters: Fanny Burdino, Samuel Doux; based on the graphic novel by AJ Dungo
1 hour 31 minutes
As the story opens, AJ is, in the words of his best friend, Francisco (Alejandro Antonio Ruiz), “aquaphobic” — a situation that Kristen wastes no time correcting, urging the shy skateboarder into the ocean and teaching him to surf. Along with her brother, Jeff (Griffin Puatu), and cousin Eon (Johnny Young), they form a tight quartet. AJ’s new friends become an especially crucial part of his life after Francisco moves away. The two boys’ awkward driveway goodbye is a key example of what the screenplay by Fanny Burdino and Samuel Doux gets so right about adolescence, as is the tantalizing suspension of time after a boy hits send on a text to the girl he can’t stop thinking about.
The characters’ athleticism speaks volumes too, from the skateboard-level action on sidewalks to the moments when AJ awakens to the physical thrills and transcendent mysteries of catching a wave. Kristen’s surfing lessons extend beyond the physical to the historical: She tells him about the legendary father of modern surfing, Duke Kahanamoku, and how the missionaries colonizing Hawaii outlawed surfing, a centuries-old part of the local culture. For the Philippine American characters at the center of the drama, cultural identity is one facet among many, not always directly illuminated; like the snippets of Tagalog spoken by Kristen’s father, it’s an organic part of the everyday whole.
Kristen and AJ’s romance follows familiar arcs from spark to spark, but the way those moments are presented can be dazzling. They share their first kiss under an exquisite inky sky, and the sight of an elated AJ skateboarding home in the rain would make Gene Kelly proud.
All the sweeping expansiveness snaps shut with a sudden health crisis for Kristen, its onset signaled with masterful concision in a middle-of-the-night calamity that leaves her helpless. It isn’t until well after Kristen has faced a life-threatening illness and an extreme medical ordeal that she and AJ make their relationship official to her parents. Every decision becomes an expression of tenacity and determination, but also an acknowledgment that things can shift in an instant. Kristen finds her way back to her natural vivacity, but the brightness burns differently. An overhead shot of the four friends together again on their boards, waiting for a wave on the sunset-pink Pacific, is a quiet stunner, packed with feeling and hard-won knowledge.
The excellent English-language cast (the festival is screening both this version and the French, which is slated for a July release in France and Belgium) features several actors doing double and triple duty as supporting and background characters. At its center, Sharpe and Hsu create a compelling and dynamic contrast as two smart people looking toward careers and ready to build a life together. A trip to New York — depicted with a vibrancy that complements the story’s West Coast settings — finds AJ and Kristen in a paradox: more committed to each other than ever before, and also lying to each other about monumental things.
In this tale of body and spirit, Nguyen (director and artist on the French series Culottées and a storyboard artist on The Ollie & Moon Show) strikes a fine balance between narrative and visual language, the imagery bolstered by musical contributions and outstanding sound work: the whoosh of the surf, the wind combing through palm fronds, the scratch of markers on a skateboard or sheet of paper.
Water is the drama’s connective tissue. With remarkable fluency, In Waves captures its various textures, trajectories and degrees of translucency, and, in a sweetly sly touch, the way it can spatter against the lens of a camera. Eventually Kristen, AJ, Jeff and Eon make their way from the Southland to a corner of the Northwest; it’s a journey into icy beauty and a kind of terror, but, no less, a headlong plunge into the balm of love. This is a movie that effortlessly marries primal poetry to the quotidian. Its aching heart understands that a full moon of brilliant perfection can illuminate one of the most painful moments of your life.
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movies
‘Doctor Who’: Multiple BBC Studios Labels To Apply For Tender
EXCLUSIVE: At least one BBC Studios indie will be throwing its hat in the ring to become the next producer of Doctor Who, with scripted boss Jamie Hall telling Deadline he “firmly believes” the entire BBC group should “reap the rewards” of the iconic sci-fi series.
Hall said “we’ve probably got one, potentially two companies” going for the multi-million pound tender, which if successful would bring the show back in house following two seasons made by Sony-owned Bad Wolf, starring Ncuti Gatwa. His comments followed BBC Studios CEO Tom Fussell recently saying BBC Studios would be applying “with gusto.”
Hall wouldn’t reveal the names of the indies but said he would “100%” be happy for more than one to enter the race.
BBC Studios runs an in-house drama label, which made Doctor Who before Bad Wolf, while it also owns several scripted indies outright including Baby Reindeer maker Clerkenwell Films, Happy Valley producer Lookout Point and Sherwood indie House Productions.
While he hasn’t seen his labels’ proposals, Hall said he has been “very open” and honest with those keen to go for the tender because the process is “quite an onerous undertaking and costs quite a bit of money.” “I have to make sure that it doesn’t become a distraction from the day job,” he added.
If two BBC Studios labels enter, they will likely join Line of Duty producer World Productions, whose boss Simon Heath has previously indicated his ITV Studios-owned outfit is interested. More thoughts from producers can be found in our future Doctor Who analysis from over the summer.
Published a fortnight ago, the tender calls for a “relevant, surprising, brave and inspiring” new vision for the show that should premiere in 2028-29. Notably, it said it is happy for indies to pitch a series using “episodic writers” rather than a “showrunner model,” which would do away with how Doctor Who has been made in recent years.
After several years with Bad Wolf and after the termination of the just-ended Disney+ co-pro deal, Hall was adamant that Doctor Who “should sit within the BBC and the whole group should reap the rewards of it.”
Questioned on what he would want to see from a revamped Doctor Who, Hall harked back to the days when Matt Smith and David Tennant were playing the Doctor.
“It feels to me that there is an opportunity to get back to what the core offering was in that time,” he added. “It will be off screen for two or three years and that gives the audience a great chance to have a break then rediscover, while also bringing a new audience.”
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movies
Netflix Renews Indian Reality Breakout ‘Lock Upp’ For Second Season
Netflix is returning the inmates to the Lock Upp jail.
A second season of the ‘captive reality’ series, whose full title is Lock Upp: Sach Yaa Sazaa has been ordered following Season 1’s breakout summer, where it placed number one of Netflix’s TV shows list within two days of the premiere and remained in the top ten for seven straight weeks.
The response to the show was so strong that five weekly episodes were expanded to six to satisfy demand, Netflix has said. It eventually amassed 50 million hours viewed in a month.
The show sees Indian celebrities thrown together in a jail cell, where they compete in challenges. What broke through with audiences was some of the more divisive characters discussing their public perception and confronting narratives that have surrounded them.
Netflix said Season 2 “build on that world, bringing audiences back inside the jail for another chapter where personalities collide, dynamics shift, and every secret has the potential to change the game.”
Riteish Deshmukh and Farah Khan return as hosts, with Balaji Telefilms producing. Show creator Ekta Kapoor is producing alongside Shobha Kapoor and Manisha Sharma, with Malaya Pradhan the showrunner.
“Lock Upp: Sach Yaa Sazaa became appointment viewing overnight,” said Monika Shergill, VP of Content at Netflix India. “Viewers invested, debated, and kept coming back. It captured the zeitgeist — not just as entertainment, but also as a space where celebrities talked about topics they rarely do, owned their choices and confronted past trauma.
“Ekta’s bold homegrown idea and the scaled adaptation on Netflix led to entertainment maxxing. Season 2 will be about recreating the same Netflix effect with many new surprises for our audiences.”
Ekta Kapoor, Jjoint Managing Director at Balaji, added: “Lock Upp: Sach Ya Sazaa on Netflix went far beyond what we imagined. The conversations, the inmates, and their most memorable moments continued to live with audiences even after the finale. That’s what makes the return of Lock Upp so exciting.
“The next season will take audiences back into a world they know, but with an entirely new set of stories, personalities, and surprises. And Farah and Riteish will continue to helm the Lock Upp as the formidable jailer duo, bringing their own energy, unpredictability, and dynamic to the next chapter.”
Lock Upp originally launched on ALTBalaji and MX Player in 2022, but was rebooted for Netflix.
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movies
Ryan Kwanten Signs With Rain for Management Representation
New representation is raining on Ryan Kwanten. The veteran actor and producer has inked with Rain for management representation.
Kwanten started acting young, with his first credits coming in the early 1990s. He worked steadily and caught an early break on the Australian television soap opera Home and Away. He segued to Summerland before catching another break on the role that he is perhaps best known for, playing Jason Stackhouse across seven seasons on HBO‘s hit True Blood, which ran for 81 episodes from 2008-14.
Kwanten’s other credits span genres and the big and small screens, including work opposite J.K. Simmons in Glorious, which he also executive produced, Nicolas Cage in Kill Chain and Anthony Hopkins in Kidnapping Mr. Heineken. He lent his voice to Zack Snyder’s Legend of the Guardians: The Owls of Ga’Hoole alongside Helen Mirren, Abbie Cornish, Joel Edgerton, Sam Neill, Hugo Weaving, Jim Sturgess and Geoffrey Rush.
His more recent credits include The Oath, which he starred in and produced alongside Curtis “50 Cent” Jackson, Them, Kindred, Head Count, The Portrait, Primitive War and the recently completed Seven Snipers with Tim Roth, Ioan Gruffudd and Radha Mitchell. He can next be seen in the post-apocalyptic werewolf thriller Dead Howling.
Kwanten continues to be repped by RGM Artists.
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