Monday 2020 Opening, Kiss Scene (Sebastian Stan)

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‘Monday’ Opening: A Year of Love and Its Hangovers
Monday ferst scene (Sebastian Stan)
Opening scene From Movie: "Monday" (2021)
Fiery physical contact keeps an expat couple together in Greece, and the love scenes are enough for a half-dozen movies.
This movie’s first image is of a disco ball; the first song on its soundtrack is Donna Summer’s 1977 “I Feel Love.” But “Monday” isn’t a period piece.
The director Argyris Papadimitropoulos, who co-wrote the movie with Rob Hayes, understands that for some partyers from the Balearic Islands to the Mediterranean - this movie’s English-speaking soon-to-be-lovers are introduced to each other while getting their freak on in the director’s native Greece - staying young involves nostalgia for a sybaritic era you didn’t actually live through.
Mickey (Sebastian Stan), a D.J., and Chloe (Denise Gough), a lawyer, meet cute, and utterly smashed, on a Friday night, and wake up the next morning naked on a beach. They’re hauled off by cops to an embarrassed but not terribly traumatic reckoning with the law. These attractive characters are well past their 20s, which by some lights makes them a hair too old to be carrying on like this. Which is part of the film’s point, in fact.
The movie chronicles more than one weekend - it follows the relationship over almost a year, but each sequence kicks off on a Friday and ends on a Monday. Movie enthusiasts who bemoan that contemporary film is bereft of both romance and sex take note: The glue that keeps these two together is fiery physical contact, and the sex scenes are enough for a half-dozen movies.
Where their other affinities lie is something of a puzzle, but frequent intoxication can render such questions moot. The director’s semi-skewering of rom-com clichés, including the venerable race-to-the-airport bit, underscores their mutual unsuitability.
While “Monday” is not quite as bracing as Papadimitropoulos’s prior feature, “Suntan,” it’s a sharply observed, well-acted picture with a lot of tart detail and a few real stings in its tail.
For me, this tense conversation between Chloe and Mickey’s ex-partner Aspa (played by Elli Tringou, who was the bewitchingly unattainable woman in Suntan) is the one moment in the film that truly comes to life. It is the one speck of grit in the oyster, the one scene where something seems to be really at stake, where things can happen with irreversible results. And so it proves - in a way. Aspa icily confronts Chloe with the truth about how lazy and selfish Mickey actually is, but seems to have taken stock of how serious Chloe is.
Everything but the kitchen sink is thrown into this film: parties, clubs, arguments, embarrassments, love - and there’s even a full-on romcom rush to the airport. But I never got the impression of a genuine connection between the two stars. There was no chemistry. Gough works hard to make her role count, but she has not much to work with, and Stan is stuck with this exuberant, anarchic hipster role which reminded me weirdly of the cool Rat Pack guy with whom Alicia Silverstone has her terrible date in Clueless. The party feels like it’s over before it’s begun.

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