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In the more than 10 years that Jonah Hill has been an actor he has worked with Martin Scorsese, The Legacy of a Whitetail Deer Hunter Quentin Tarantino, the Coen brothers, the Duplass, Gus Van Sant, Judd Apatow, Cary Joji Fukunaga (his last work, the Maniac series). He has gone from being the funny friend to a serious actor, of a thousand faces. He has learned from teachers the trade he had been involved in since he was nine years old: telling stories in the movies, writing and directing his own films. He decided when his parents explained that Springfield, the city of The Simpsons, was not real, but a place and characters created by someone. He wanted to be that someone. And now he has done it.

Mid90s is the film with which Jonah Hill wanted to present himself, Miss Bala finally, as it is to the world. With which he sought his voice and has found it, as his friends Seth Rogen and Evan Goldberg did in Supersalidos. And it turns out that Hill’s voice is a far cry from that comedy with which we associate him mid90s is closer to the generational portrayals of Richard Linklater and Harmony Korine (Kids). Mid90s is almost Lady Bird this year in Toronto. Something less round than that, but equally tender, honest and deep in his portrait of adolescence.

In this case, the protagonist, Stevie (Sunny Suljic) is younger and lives at home a more complicated situation: an older brother who mistreats him (Lucas Hedges, in his third big role of the year) and a mother who lives in another universe (Katherine Waterston) He is a sweet child who only seeks friends, role models, acceptance and ends up finding her in a quartet of skaters who spend hours improving their tricks on the board, drinking, smoking and laughing. Stevie gets older then overnight, but she is also happy.

For friends, Hill has found four non-actor kids (Na-Kel Smith, The Addams Family Olan Prenatt, Gio Galicia and Ryder McLaughlin) who convey a brutal and very funny reality despite nothing that happens in the lives of their characters – Very poor families, tragic deaths, abuses – it is. But Jonah Hill records them with naturalness, he follows them with the camera very closely and without overwhelming and brings out the truth of a generation meeting in that moment of apparent freedom.

And then there is the music (by Atticus Ross and Trent Reznor) and that recreation of the 90s, as Jonah Hill remembers them, with just the right notes of nostalgia.

Duration: N/A



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