Real Fwends. How Many of Us?

“Seasons change, mad things rearrange

But it all stays the same like the love doctor Strange”

 “How Many Mics,” The Fugees, 1996

We’ve all been there: you reconnect with someone who once felt like your ride-or-die in your early 20s, only to find that life, distance and the relentless march of adulthood have quietly wedged themselves between you. That’s the story at the heart of Fwends (2025), the delightful mumblecore debut from Australian director Sophie Somerville. Funny, raw and consistently sharp, this film takes its cues from conversation-heavy gems like My Dinner with Andre (Louis Malle, 1981), the Before trilogy (Richard Linklater, 1995-2013) and the slightly underrated box office bomb Scenes from a Mall (Paul Mazursky, 1991) while firmly rooting itself in the rhythms and language of Gen Z culture. An immensely likable and relatable film, FWENDS is one of the breakouts in the Forum section.

The story kicks off in Melbourne, where Em (Emmanuelle Mattana) takes a weekend off from her demanding job in Sydney to visit Jessie (Melissa Gan). They’ve kept in touch since college, but it’s been a while since they’ve really spent time together. At first, it’s the usual small talk — work, coffee, life updates — but soon, things start to feel a little off. Cracks begin to show, and the conversation takes a deeper turn. Em shares that she’s been dealing with sexual harassment at work, while Jessie confesses she’s still struggling after a recent breakup. What begins as a casual catch-up quickly dives into more vulnerable territory, forcing them to confront how much they’ve changed and what that means for their friendship.

It’s a very talky movie, but pleasantly so, with a script nails the ebb and flow of real conversation. Somerville knows when to let things breathe, when to throw in a curveball, and when to ease back into casual chatter that feels way more significant than it sounds. Em and Jessie’s banter feels so real, it’s like you’re overhearing their conversation on the train — only, instead of zoning out, you’re totally sucked in, even to the minutiae. Similar to Somerville’s 2023 short Linda 4 Eva, which dealt with a teenage girl’s self-consciousness about spending the day at the beach, she’s able to tap into her characters innermost fears and insecurities, periodically dropping bright and colorful visuals that offset some of the painful, serious feelings.

With camerawork that effortlessly captures Melbourne’s urban sprawl, blending its towering skyscrapers, anonymous side streets and abundant green spaces, Somerville turns the city into a character of its own. Whether framing a casual conversation from outside a tram or capturing an argument between the leads in a botanical garden, she brings the city to life while subtly commenting on urban planning and its quirks. Her approach to shooting Em and Jessie never feels repetitive — sometimes distant and voyeuristic, but as the tension between them builds, the lens closes in, pulling us deeper into the escalating intensity of their weekend.

What makes FWENDS truly stand out is its ability to honestly capture the bittersweet reality of growing apart. It embraces the idea that sometimes life needs a little chaos (or party drugs) to teach us meaningful lessons or to unlock a deeper understanding of ourselves — one that sparks reflection and eventual change. Rather than framing Em and Jessie’s diverging paths as a tragedy, the film approaches them with compassion, showing how friendships can evolve without losing their essence. It’s not about grand gestures but the small, honest moments of connection and acceptance that keep us close.