LFF 2016 Day Eight: Certain Women (2016)

I saw just the one film on Wednesday 12 October due to competing plans, and despite my avowed desire to avoid ‘big’ films destined to return, I made an exception… and it turns out to have been my favourite so far (albeit no surprise, given the director).


Certain Women (2016)Certain Women (2016, USA, dir./wr. Kelly Reichardt, DOP Christopher Blauvelt)
I always knew I was going to like this film, because Kelly Reichardt makes films I always like. Her last film at the LFF was Night Moves (2013), and that was practically a genre thriller, albeit with Reichardt’s customary style, but this new one dispenses with the genre baggage. So we’re left with a sort of purity to the slow rhythms, the steady gaze, the emotional depth.

I spent much of the running time wondering where it was going and what it was trying to achieve — although liking it a lot, don’t get me wrong; the 16mm-shot cinematography is spectacular for its framing and the beautiful open landscapes which are captured. But then the film finished with three brief coda scenes, to each of the three narrative strands (one featuring Laura Dern, another with Michelle Williams, and a third with Lily Gladstone and Kristin Stewart), and it all came into focus for me a bit. Sometimes you just need that cinematic nudge. I don’t want to overplay it though: if you’re bored by the film, the ending won’t suddenly turn you around. But this is stark, emotional, yearning, bleak at times but absolutely masterful filmmaking.

There’s a desire for human connection that runs through it, and there’s sometimes a paucity of connection too. There’s a weariness to some of these women, and for good reasons, but there’s nothing forced about the way it unfolds. I had felt initially that Michelle Williams wasn’t quite ‘right’ as a mother, but now I think that feeling was a response to her role and the way she played it: lacking support from her (cheating) husband and teenage daughter, why shouldn’t she be cagy?

No, this is fantastic stuff, up there with Meek’s Cutoff, and I’ll happily see it again. [****½]

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LFF: Night Moves (2013)


BFI London Film Festival 2013 FILM FESTIVAL FILM REVIEW: London Film Festival || Director Kelly Reichardt | Writers Jonathan Raymond and Kelly Reichardt | Cinematographer Christopher Blauvelt | Starring Jesse Eisenberg, Dakota Fanning, Peter Sarsgaard | Length 112 minutes | Seen at BFI Southbank (NFT1), London, Thursday 17 October 2013 || My Rating 4 stars excellent


© Cinedigm

I feel like I’ve been using terms like “watchful” a lot about films I’ve seen recently, as if there’s a lot more filmmakers making observant little stories about people which are suffused with a sort of quiet observancy as they go about their lives, and Kelly Reichardt’s films more than most have this quality. Her earlier features, Old Joy (2006) and Wendy and Lucy (2008) are filled with this kind of tense tranquillity, and I particularly loved Meek’s Cutoff (2010) for its story of a group of women in 19th century Oregon picking their way slowly across country. This new film too is set in Oregon and has all of the same qualities, a slow-burn story of a group of friends splitting apart.

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The Bling Ring (2013)


NEW RELEASE FILM REVIEW || Director/Writer Sofia Coppola (based on the article “The Suspects Wore Louboutins” by Nancy Jo Sales) | Cinematographers Harris Savides and Christopher Blauvelt | Starring Katie Chang, Israel Broussard, Emma Watson, Leslie Mann | Length 90 minutes | Seen at Cineworld Haymarket, London, Sunday 7 July and Monday 8 July 2013 || My Rating 4 stars excellent


© A24

I suppose that when I think of films about teenagers, I think of those films that play to their self-involved fantasies of acting out — films with clever scripts where teens get the better of the adults and engage in witty verbal sparring. These are films based on established (and establishment) literary sources such as might be studied at school (Clueless, 10 Things I Hate About You or Easy A, for example). Occasionally, as with Brick (2005), the source text is a more ‘grown-up’ film genre (in that case, the hardboiled detective flick), but wordplay remains key.

But then there are those films, like this past year’s Spring Breakers, which seem to put teenagers and their behaviour under a magnifying glass, like a mould culture preserved in agar jelly, beautifully curated and preserved yet strange and distant. Not that I’m comparing director Sofia Coppola’s style directly to that of Harmony Korine, but the two films have some genetic matter in common. Both directors have been observing this strangeness for years, Coppola’s signature look being a sort of woozy, pastel-hued haze of Californian sun dappled through airless modernist cubes of Los Angeleno domestic architecture.

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