The Assistant (2019)

The biggest release of the past week in the UK has been this very minimal office drama, almost a chamber piece (it rarely moves outside of the office setting, aside from brief bookends of the darkened city streets), which engages with some of the dramas within the film industry in a frank way, while also making a strong point about casual misogyny ingrained in office culture, yet barely ever raising its voice, and a lot of that is down to Julia Garner’s performance (who until now has had more work on TV, as well as memorable supporting turns, such as in 2015’s Grandma).


This film is not quite what you expect when you read the précis, but if anything it’s more powerful for what it withholds as for what it shows — specifically, you barely ever actually see the Weinstein-like boss that our titular character works for. He is glimpsed, heard on the phone, read in subtly negging e-mails, and generally understood by everyone present to be the person being talked about when any talking happens about “him”. Of course it happens to be set in the world of film (and this one sure does have a lot of producers attached), but the non-specificity means it could be set in any office. It’s only as the film goes on that you start to pick up that he’s a film producer: the attractive women who always seem to be coming into the office; the tasteful poster art in the background; references to filming that become more pronounced as the story goes on, though the most we ever see of the actual art is a home-taped audition one of the women drops off (a woman who gets belittling comments once she’s gone, but, of course, she’s a good actor it turns out, not that anyone seems to care). What is effective (and affecting) is the way that it’s just the little microaggressions that build up, dismissive behaviour in the elevator, thrown bits of paper in the office, the expectation that she (of the three assistants, the other two are young men) will deal with “his” kids when they’re brought in, or will go fetch the food. As such, it requires a lot of discipline from Julia Garner as the lead actor — it’s very much her on whom the whole movie depends — and she does wonderfully well, and even the biggest setpiece (her confrontation with Matthew Macfadyen’s HR director) scarcely draws much more than a wounded look, as her defences are subtly but decisively battered down over a potential complaint she wants to make. This is in some ways a masterclass that shows how much you can achieve within a tight budget, evoking so much in its (long-)day-in-the-life portrait of this one woman.

The Assistant film posterCREDITS
Director/Writer Kitty Green; Cinematographer Michael Latham; Starring Julia Garner, Matthew Macfadyen; Length 85 minutes.
Seen at home (Curzon Home Cinema streaming), London, Wednesday 6 May 2020.

Grandma (2015)

I liked Paul Weitz’s last film, Admission (2013), more than many people, perhaps because of its university setting (that’s where my day job is), but also because of its likeable protagonists. Yet I’d never have guessed the same person (responsible, lest we forget, for American Pie as well), might turn in something like Grandma. It’s just so unfussy and unpretentious, plus (surely unusual in the kind of political culture of the modern USA), it takes for its premise the unquestioned assumption that women have the right to want an abortion and be able to get one. It’s not as if the teenage character of Sage (an excellent Julia Garner, whose performance moves from teenage petulance to more sympathetic as the film progesses) is let off the hook for her decisions, just that it avoids the quirk (and moral compromise) of Juno. Still, whatever the excellent qualities of the script (and they should not be diminished, as a good script is the basis for all good films), it’s anchored by a fantastic performance from Lily Tomlin as Elle, an ageing lesbian academic and poet, who is irascible and cranky without ever being loveable exactly, but yet surely has the audience’s strongest sympathy in her response to the news from her granddaughter. It moves towards what you might expect is a group-hug heartwarming family moment, but never quite delivers on one’s worst fears in this regard. It’s a quiet champion of a film, and best of all, clocks in at under 80 minutes.

Grandma film posterCREDITS
Director/Writer Paul Weitz; Cinematographer Tobias Datum; Starring Lily Tomlin, Julia Garner, Marcia Gay Harden; Length 79 minutes.
Seen at Picturehouse Central, London, Thursday 31 December 2015.