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.

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Night Moves (2013)

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.

It’s very much a film of two parts. The first half has all the tense forward momentum of a heist film, as a group of environmental activists (or eco-terrorists, if you will) plot to blow up a dam. Even though their actions are destructive, the film puts you right there amongst them, and you find yourself almost willing them to get away with it and achieve their optimistic goals, for each wants to spur the world towards being more environmentally-conscious. At the heart of the film is Josh (Jesse Eisenberg), who has a good job working for a collective organic farm, and who seems to be close to Dena (Dakota Fanning), a young woman working at a health spa, whose wealthier background allows the plan to move forward. They are aiding the shadowy Harmon (Peter Sarsgaard), whose plan this appears to be, and who lives ‘off the grid’ out in the wooded wilds of upstate Oregon.

However, this is only half the film, and there’s an abrupt change of pace once the plan has been put into effect, as the three deal with their consciences with regards to its outcome. This is where the relationship between Josh and Dena becomes particularly fractured, and in which Josh reveals all his nervy paranoia. It’s also where the payoff to the minutely detailed ‘heist’ of the first half follows through, as Night Moves reveals itself to be a film that’s about the psychology of terrorist action, bringing home with these three middle-class white characters how a well-meaning intention can become warped and distorted. The film tracks Josh as he becomes progressively disenchanted with his ideals and is ironically pushed by his destructive actions towards the very capitalist society to which he had initially seemed so opposed.

The acting is all excellent, of course, and if Eisenberg seems to be doing a version of his familiar sullen loner, substituting quiet tenseness for his usual nervy chatter, it’s a character very nicely detailed. Fanning too extends a run of strong performances with her conflicted Dena, who has in some ways the most difficult part, revealing all the vulnerabilities that lie behind Dena’s very strong and motivated facade (never clearer than in the sequence where she must purchase a large quantity of fertiliser for the bomb without having any ID on her).

The very strong and brilliantly orchestrated first half is the highlight while the film is running, but the second half opens up questions which linger for some time afterwards, extending and deepening the mystery of the film’s surface. As the title suggests (ostensibly taken from the name of the speedboat they buy, which forms part of the group’s plan), there is a tense, dark atmosphere suffusing the film, and there’s certainly a quality to the cinematography and the settings, all earthy and overcast, which harks back to tense psychological thrillers of decades earlier. In all, Reichardt has crafted a film that takes an aspect of modern society and gives it the timeless resonance of a morality play.

Night Moves film posterCREDITS
Director Kelly Reichardt; Writers Jonathan Raymond and Reichardt; Cinematographer Christopher Blauvelt; Starring Jesse Eisenberg, Dakota Fanning, Peter Sarsgaard; Length 112 minutes.
Seen at BFI Southbank (NFT1), London, Thursday 17 October 2013.

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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